{"id":6989,"date":"2015-07-14T23:58:47","date_gmt":"2015-07-15T02:58:47","guid":{"rendered":"http:\/\/culturedarm.com\/?p=6989"},"modified":"2015-07-18T12:16:27","modified_gmt":"2015-07-18T15:16:27","slug":"woman-reading-and-the-oasis-of-matisse","status":"publish","type":"post","link":"https:\/\/culturedarm.com\/staging\/5793\/woman-reading-and-the-oasis-of-matisse\/","title":{"rendered":"Woman Reading and The Oasis of Matisse"},"content":{"rendered":"

\"Oasis<\/a><\/p>\n

The Oasis of Matisse<\/a><\/em> \u2013 billed as the largest ever exhibition of Henri Matisse\u2019s work in the Netherlands; and as the first Matisse retrospective of any size in the country for fifty years \u2013 is currently at the Stedelijk in Amsterdam. It will run until 16 August.<\/p>\n

The Stedelijk is boasting an unusual approach to such a retrospective. The ground floor of the museum brings together a wide range of Matisse\u2019s paintings, drawings, and prints, and juxtaposes them with both famous and lesser-known pieces from within the Stedelijk\u2019s permanent collection. These include works by Paul C\u00e9zanne, Vincent Van Gogh,\u00a0Piet Mondrian, Maurice de Vlamnick,\u00a0Ernst Ludwig Kirchner, Pablo Picasso, Olga Rozanova, Marc Chagall, and Mark Rothko. The time-frame is broadly contiguous with the extent of Matisse\u2019s life (1869-1954), showing both the artists who would have influenced his youth, and the new directions being explored towards his final years.<\/p>\n

Following on from the comparisons and connections of the ground floor, upstairs showcases a selection of Matisse\u2019s late cutouts alongside magazine illustrations, textiles, and stained glass works. The Oasis of Matisse<\/em>\u00a0was conceived as a response to and inspired by\u00a0Matisse: The Cut-Outs<\/em>, which showed at the Tate Modern last year from April to September, and then at MoMA from October until February.<\/p>\n

The Stedelijk lent out one of Matisse\u2019s best-loved cutouts for that exhibition: The Parakeet and the Mermaid<\/em>, which Matisse created in 1952, just a couple of years before his death from a heart attack at the age of eighty-four. One of Matisse\u2019s largest cutouts, aided by his assistants he pinned its shapes to large sheets of white paper, hung on the walls of his apartment in Nice as he recuperated from a major operation. Matisse was confined to a wheelchair, and found in his mural \u2018a little garden all around me, where I can walk [\u2026] There are leaves, fruits, a bird\u2019.<\/p>\n

\"Parakeet-and-Mermaid<\/a>
La perruche et la sir\u00e8ne \/ The Parakeet and the Mermaid<\/em>, by Henri Matisse (1952-1953). Goache on paper, cut and pasted on paper, mounted on canvas. 337 x 768.5 cm. Stedelijk Museum, Amsterdam.<\/figcaption><\/figure>\n

* * *<\/p>\n

The very first room on the ground floor of The Oasis of Matisse<\/em> offers a juxtaposition between Matisse\u2019s La liseuse <\/em>\/\u00a0Woman Reading<\/em> (1895), Jean-Baptiste-Camille Corot\u2019s Jeune fille \u00e0\u00a0la mandoline<\/em> \/ Young Woman with Mandolin<\/em> (1865-70), and George Hendrik Breitner\u2019s The Red Kimono<\/em> (1893-94).<\/p>\n

The exhibition\u2019s catalogue states that when Matisse came to paint\u00a0Woman Reading<\/em>, he had only recently attended an exhibition of Corot in Paris. And\u00a0certainly there are clear points of similarity between the two cited works. Matisse\u2019s painting could be viewed as Corot\u2019s mandolin-player turned round, and reading at leisure instead of posing and playing her instrument. There is the same dark hair, although tied differently; and the women appear to share the same stature and roundness of face. Both paintings utilise a subdued colour palette, of brown and ochre offset by cool blues or greens.<\/p>\n

Yet for an exhibition which culminates with Matisse\u2019s late cutouts, and explicitly seeks new perspectives in the context of the whole of Matisse\u2019s career,\u00a0it seems more interesting and more fruitful to consider Matisse\u2019s early interest in pattern. Breitner\u2019s The Red Kimono<\/em> is full of patterns, textures, and textiles: from the dark Aztec geometrics of the mattress and floor coverings, to the looser floral spots and splotches on the drapery behind. But it is the\u00a0white, black, and olive\u00a0petals which adorn the red kimono itself \u2013 in a composition which shows the influence of Japonisme both in the woman\u2019s dress and in the flattened perspective \u2013 which offer the nearest link with\u00a0the sea-green wallpaper in Matisse\u2019s Woman Reading<\/em>.<\/p>\n

Comparing the two paintings, we may ask to what degree the pattern being worn changes our sense of the human subject. In relation to Matisse\u2019s reading sitter, the petals on the red kimono scarcely make its female wearer appear any more animated. She lies in repose, leaning back on the covered mattress, her head resting on two pillows: and though she sustains a flower in the air with her right hand, there is no greater\u00a0sense of inner animation. It is as though not only the choice of wallpaper \u2013 because after all, while we can presume that the lady in Breitner\u2019s painting has chosen her red kimono, we can\u2019t be sure that the woman in the Matisse chose her wallpaper \u2013 but the presence of it remains as vitalising as the fact of the red dress. Both patterns, worn or unworn,\u00a0make staid scenes vibrant.<\/p>\n

Matisse\u2019s Woman Reading<\/em> remains a realistic depiction, although in its blocks of colour it shows a tendency towards Fauvism which Matisse would soon develop. Breitner\u2019s The Red Kimono<\/em> by contrast is composed, carefully lit realism.<\/p>\n

More than the Corot, Matisse\u2019s Woman Reading<\/em> recalls another painting in the Stedelijk collection: Van Gogh\u2019s Augustine Roulin <\/em>\/ La Berceuse<\/em> (1889)<\/a>. The floral patterns of the wallpapers\u00a0in both works\u00a0are markedly similar: white and yellowish flowers on backgrounds of different shades of green, with the pattern regulated in the Matisse. Both works are also studies in green and red, given the reddish-brown of Matisse\u2019s adjoining wall and cabinet.<\/p>\n

But in Woman Reading<\/em> the line is less bold, the colour and the contrast less intense, and the painting more naturalistic. There is not the same feeling of a subject submerged: of the surrounds and the woman becoming one, as there is in Van Gogh\u2019s richly psychological portrait. In La Berceuse<\/em>, Augustine Roulin\u2019s green blouse and skirt compete with the green of the wallpaper; and her face and especially her hands are tinged with the same colour. In Woman Reading<\/em> there are greens which function instead as accents, in the emerald table jug and mint lampshade.<\/p>\n

While in Corot\u2019s painting, the sitter looks directly towards the viewer, in both the Matisse and the Van Gogh the gaze is down and across. In Woman Reading<\/em>\u00a0this is presumably, as the title indicates, towards the book poised in front of her; though as far as we can see she could equally be gazing deeply into the corner of the room, as does Madame Roulin in La Berceuse<\/em>.<\/p>\n

* * *<\/p>\n

In fact in the last of the exhibition catalogue\u2019s introductory essays, \u2018Matisse and the Lure of Decoration\u2019, Maurice Rummens compares Van Gogh\u2019s La Berceuse<\/em> with Matisse\u2019s La guitariste \/ The Guitarist<\/em> (1902-03), which he describes as \u2018Matisse\u2019s first \u201ccostume piece\u201d and one of his first paintings with a striking ornamental pattern\u2019. Rummens suggests that Matisse may have encounted La Berceuse<\/em> early in his career; noting that in 1897, Matisse had purchased a drawing by Van Gogh from the Australian impressionist \u2013 and friend of Van Gogh\u2019s \u2013 John Peter Russell, on a visit to Belle \u00cele\u00a0off the coast of Brittany. Matisse is recorded as saying, \u2018Russell was my teacher, and Russell explained colour theory to me\u2019.<\/p>\n

Of course Woman Reading<\/em> was done\u00a0in 1895, two years\u00a0earlier. Between December 1888 and March 1889 Van Gogh had painted five versions of La Berceuse<\/em>: among the numerous portraits he made of the Roulin family, the parents\u00a0Joseph and Augustine and their three children, Armand, Camille, and the infant Marcelle, whose cradle, out of frame, Augustine is rocking in La Berceuse<\/em>. With two repetitions of La Berceuse<\/em> complete by late February, in a letter to his brother Theo, Van Gogh remarked that Augustine \u2018had a good eye and took the best one\u2019 off on a visit to her mother.<\/p>\n

The title La Berceuse<\/em> meant for Van Gogh \u2018\u201dour lullaby\u201d, or the woman by the cradle\u2019. He wrote of the idea that even Icelandic fisherman, in their \u2018melancholy isolation, exposed to all the dangers, alone on the sad sea\u2019, could be comforted by the experience of his painting.<\/p>\n

* * *<\/p>\n

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La liseuse \/ Woman Reading, by Henri Matisse (1895). Oil on wood. 61.5 x 48 cm. Mus\u00e9e d\u00e9partemental Matisse, Le Cateau-Cambr\u00e9sis.<\/p>\r\n\t\t<\/div>\r\n\t\t

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Jeune fille \u00e0 la mandoline \/ Young Woman with Mandolin, by Camille Corot (1865-70). Oil on canvas. 46.5 x 31 cm. Stedelijk Museum, Amsterdam.<\/p>\r\n\t\t<\/div>\r\n\t\t

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The Red Kimono, by George Hendrik Breitner (1893-94). Oil on canvas. 51.5 x 76 cm. Stedelijk Museum, Amsterdam.<\/p>\r\n\t\t<\/div>\r\n\t\t

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Augustine Roulin \/ La Berceuse, by Vincent van Gogh (1889). Oil on canvas. 91 x 71.5 cm. F 507. Stedelijk Museum, Amsterdam.<\/p>\r\n\t\t<\/div>\r\n\t\t

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La guitariste \/ The Guitarist, by Henri Matisse (1902-03)<\/p>\r\n\t\t<\/div>\r\n\t\t

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Polynesia, the Sea, by Henri Matisse (1946). Design for the tapestry factory at Beauvais.<\/p>\r\n\t\t<\/div>\r\n\t<\/div>\r\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The Oasis of Matisse \u2013 billed as the largest ever exhibition of Henri Matisse\u2019s work in the Netherlands; and as the first Matisse retrospective of any size in the country for fifty years \u2013 is currently at the Stedelijk in Amsterdam. It will run until 16 August. The Stedelijk is boasting an unusual approach to […]<\/p>\n","protected":false},"author":1,"featured_media":7262,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[3874],"tags":[3932,3934,3933,3931,3002,3483],"class_list":{"0":"post-6989","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art","8":"tag-camille-corot","9":"tag-french-art","10":"tag-george-hendrik-breitner","11":"tag-henri-matisse","12":"tag-stedelijk","13":"tag-vincent-van-gogh"},"jetpack_publicize_connections":[],"yoast_head":"\nWoman 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