24. MATISSE, Henri
Interior With A Bowl With Red Fish
1914
Oil on canvas, 147 x 97 cm
Musée National d'Art Moderne, Centre
Georges Pompidou, Paris
25. MATISSE, Henri
Interior With A Bowl With Red Fish Detail)
1914
Oil on canvas, 147 x 97 cm
Musée National d'Art Moderne, Centre
Georges Pompidou, Paris
26. MATISSE, Henri
Interior With A Bowl With Red Fish Detail)
1914
Oil on canvas, 147 x 97 cm
Musée National d'Art Moderne, Centre
Georges Pompidou, Paris
27. MATISSE, Henri
Interior With A Bowl With Red Fish Detail)
1914
Oil on canvas, 147 x 97 cm
Musée National d'Art Moderne, Centre
Georges Pompidou, Paris
28.
29. MATISSE, Henri
Woman With A Hat
1905
Oil on canvas, 80,56 x 59,69 cm
Museum of Modern Art, San Francisco
30. MATISSE, Henri
Woman With A Hat (detail)
1905
Oil on canvas, 80,56 x 59,69 cm
Museum of Modern Art, San Francisco
31. MATISSE, Henri
Woman With A Hat (detail)
1905
Oil on canvas, 80,56 x 59,69 cm
Museum of Modern Art, San Francisco
32.
33. MATISSE, Henri
The Joy Of Life
1905-1906
Oil on canvas, 241 x 175 cm
The Barnes Foundation, Merion,
Pennsylvania
34. MATISSE, Henri
The Joy Of Life (detail)
1905-1906
Oil on canvas, 241 x 175 cm
The Barnes Foundation, Merion,
Pennsylvania
35. MATISSE, Henri
The Joy Of Life (detail)
1905-1906
Oil on canvas, 241 x 175 cm
The Barnes Foundation, Merion,
Pennsylvania
36. MATISSE, Henri
The Joy Of Life (detail)
1905-1906
Oil on canvas, 241 x 175 cm
The Barnes Foundation, Merion,
Pennsylvania
37. MATISSE, Henri
The Joy Of Life (detail)
1905-1906
Oil on canvas, 241 x 175 cm
The Barnes Foundation, Merion,
Pennsylvania
38.
39. MATISSE, Henri
Harmony in Red (The Red Room)
1908
Oil on canvas, 220 x 180 cm
The Hermitage, St. Petersburg
40. MATISSE, Henri
Harmony in Red (The Red Room) (detail)
1908
Oil on canvas, 220 x 180 cm
The Hermitage, St. Petersburg
41. MATISSE, Henri
Harmony in Red (The Red Room) (detail)
1908
Oil on canvas, 220 x 180 cm
The Hermitage, St. Petersburg
42. MATISSE, Henri
Harmony in Red (The Red Room) (detail)
1908
Oil on canvas, 220 x 180 cm
The Hermitage, St. Petersburg
43.
44. MATISSE, Henri
Still life with an orange
1899
Oil on canvas, 56 x 73 cm
Musée National d'Art Moderne,
Centre Georges Pompidou, Paris
45. MATISSE, Henri
Still life with an orange (detail)
1899
Oil on canvas, 56 x 73 cm
Musée National d'Art Moderne, Centre
Georges Pompidou, Paris
46. MATISSE, Henri
Still life with an orange (detail)
1899
Oil on canvas, 56 x 73 cm
Musée National d'Art Moderne, Centre
Georges Pompidou, Paris
47. MATISSE, Henri
Still life with an orange (detail)
1899
Oil on canvas, 56 x 73 cm
Musée National d'Art Moderne, Centre
Georges Pompidou, Paris
48. MATISSE, Henri
Still life with an orange (detail)
1899
Oil on canvas, 56 x 73 cm
Musée National d'Art Moderne, Centre
Georges Pompidou, Paris
49. MATISSE, Henri
Still life with an orange (detail)
1899
Oil on canvas, 56 x 73 cm
Musée National d'Art Moderne, Centre
Georges Pompidou, Paris
50. cast MATISSE, Henri
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51. MATISSE, Henri-Émile-Benoît
Henri Matisse, French artist, known for his use of color to convey emotional expression, and his fluid,
direct and original painting style.
As a printmaker, but principally as a painter, Matisse is one of the best-known artists of the 20th
century. His mastery of the expressive language of color and drawing won him recognition as a leading
figure in modern art.
Early in his career, he was the leader of the Fauvist movement, a painting style which focused on pure
colors used in an aggressive and direct manner. Matisse believed the arrangement of colors was as
important as a painting's subject matter to communicate meaning. He avoided detail, instead using
bright color and strong lines to create a sense of movement.
Although intellectually sophisticated, Matisse always emphasized the importance of instinct and
intuition in the production of a work of art. He argued that an artist did not have complete control over
color and form; instead, colors, shapes, and lines would come to dictate to the sensitive artist how they
might be employed in relation to one another.
He often emphasized his joy in abandoning himself to the play of the forces of color and design, and he
explained the rhythmic, but distorted, forms of many of his figures in terms of the working out of a total
artistic harmony.