| The Dessert: Harmony in Red (The Red Room) | |
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| Artist | Henri Matisse |
| Year | 1908 |
| Medium | Oil on canvas |
| Dimensions | 180 cm× 220 cm(70.9 in× 86.6 in) |
| Location | Hermitage Museum city=St. Petersburg |
The Dessert: Harmony in Red (The Red Room) is a painting by Henri Matisse. Previously titled Harmony in Blue, the painting had a blue background when Matisse first exhibited it in 1908. In 1909, Matisse changed the blue to red, retitling it The Dessert: Harmony in Red (The Red Room).
The background of the painting was originally green, but Matisse changed it to blue before exhibiting it at the Salon d'Automne in 1908. Sergey Shchukin purchased the work from the exhibition. In 1909, Matisse repainted the background in red, giving it the new title The Dessert: Harmony in Red. Matisse had the goal of capturing still life and the interiors of the time. [1] : 53 Today, the painting is in the Hermitage Museum in Saint Petersburg, Russia. [2]
The painting reworks elements from Matisse's 1897 work The Desert. [1] While that work was in an Impressionist style, the intense colors of the later painting are more consistent with Fauvism. The red of the room contrasts with the dark green of the landscape depicted outside the window. The dark blue swirls that line the tablecloth and walls contrast with the abundance of the rich red. [3]
Matisse was intentional about maintaining the realistic qualities of objects even as he experimented with the colors of their surrounding environment. For example, the lemons on the table are yellow and maintain a realistic shape and size. [1]
The woman in the painting provides a sense of reality in the painting. The woman is proportional to the table. The woman gives context to the time of the painting with the clothing she is wearing and the action she is completing. In the book Matisse: The Man and His Art, Katharine Kuh compares Harmony in Red with Matisse's painting Bathers with a Turtle , completed between 1907 and 1908. The curvature of the bodies in Bathers with a Turtle is similar to the pose of the woman in The Dessert: Harmony in Red. [4]
The painting is unusual for the way it explores the relationship between flatness and deep space. The red of the tablecloth and walls are the same color, making the surface appear unified, but surrounding objects convey a sense of depth. For instance, the chair appearing behind the table gives context to the presence of a table. There is a faint line that runs between the table and the wall, providing a further hint of three-dimensional space. [4]
The overwhelming and bold red color seen in The Dessert: Harmony in Red began a trend in Matisse's work. Pieces of work that followed created by Matisse included: The Red Studio and the Red Interior series.
Henri Émile Benoît Matisse was a French visual artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter. Matisse is commonly regarded, along with Pablo Picasso, as one of the artists who best helped to define the revolutionary developments in the visual arts throughout the opening decades of the twentieth century, responsible for significant developments in painting and sculpture.
The Société des Artistes Indépendants or Salon des Indépendants was formed in Paris on 29 July 1884. The association began with the organization of massive exhibitions in Paris, choosing the slogan "sans jury ni récompense". Albert Dubois-Pillet, Odilon Redon, Georges Seurat and Paul Signac were among its founders. For the following three decades their annual exhibitions set the trends in art of the early 20th century, along with the Salon d'Automne. This is where artworks were often first displayed and widely discussed. World War I brought a closure to the salon, though the Artistes Indépendants remained active. Since 1920, the headquarters has been located in the vast basements of the Grand Palais.
Events from the year 1908 in art.
Madame Matisse, more commonly known as The Green Stripe or The Green Line, is an oil painting by French artist Henri Matisse of his wife, Amélie Noellie Matisse-Parayre. The colloquial name of this work was earned from the vertical green stripe down the middle of Madame Matisse’s face, an artistic decision consistent with the techniques and values of Fauvism. Besides the green stripe, this 1905 artwork features the bust of Madame Matisse in bright blocks of bold and vibrant colors. It is heavily associated with the Fauvist Movement due to this unnatural and experimental use of color. The portrait has received both praise and criticism due to this technique as well as the artistic representation of the model. The Green Stripe is currently displayed in the Staten Museum for Kunst in Copenhagen, Denmark.
Dance (La Danse) is a painting made by Henri Matisse in 1910, at the request of Russian businessman and art collector Sergei Shchukin, who bequeathed the large decorative panel to the Hermitage Museum, in Saint Petersburg. The composition of dancing figures is commonly recognized as "a key point of (Matisse's) career and in the development of modern painting". A preliminary version of the work, sketched by Matisse in 1909 as a study for the work, resides at MoMA in New York, where it has been labeled Dance (I).
The Conversation, a painting by Henri Matisse dating from 1908 to 1912, depicts the artist and his wife facing each other before a background of intense blue. It is in the collection of the Hermitage Museum in Saint Petersburg, Russia.
The Red Studio is an oil on canvas painting by French artist Henri Matisse from 1911. It is held in the collection of the Museum of Modern Art, in New York.
Bathers with a Turtle is a painting by Henri Matisse from 1907 to 1908, in the collection of the Saint Louis Art Museum in St. Louis, Missouri. In 1908 it was acquired by Karl Ernst Osthaus who included it into the Folkwang Museum in Hagen, Germany. It was removed from being exhibited by the Nazis in 1937 and brought to Niederschönhausen Palace. It was purchased for $2400 by Joseph Pulitzer Jr. in 1939 at an auction of art that the Nazi government considered "degenerate". The socalled "Degenerate Art auction" took place in the Grand Hotel National in Lucerne, Switzerland. Pulitzer purchased it at the urging of Matisse's son Pierre Matisse, in order to prevent the artwork from being destroyed, despite the profit from the auction going to the Nazis. Pulitzer later donated it to the art museum in Saint Louis.
The Basket of Apples is a still-life oil painting by French artist Paul Cézanne, which he created c. 1893. The painting rejected naturalistic representation in favor of distorting objects to create multiple perspectives. This approach eventually influenced other art movements, including Fauvism and Cubism. It belongs to the Helen Birch Bartlett Memorial Collection of the Art Institute of Chicago.
The Matisse Museum is a museum in Le Cateau-Cambrésis, France that primarily displays paintings by Henri Matisse. The museum was established by Matisse himself on 8 November 1952; he also defined the way his works should be arranged. At that time the museum was located in the wedding room of the Le Cateau City Hall.
Fauvism is a style of painting and an art movement that emerged in France at the beginning of the 20th century. It was the style of les Fauves, a group of modern artists whose works emphasized painterly qualities and strong colour over the representational or realistic values retained by Impressionism. While Fauvism as a style began around 1904 and continued beyond 1910, the movement as such lasted only a few years, 1905–1908, and had three exhibitions. The leaders of the movement were André Derain and Henri Matisse.
The Piano Lesson depicts the living room of Henri Matisse's home in Issy-les-Moulineaux, with his younger son, Pierre, at the piano, the artist's sculpture Decorative Figure (1908), at bottom left, and, at upper right, his painting Woman on a High Stool. Matisse began with a naturalistic drawing, but he eliminated detail as he worked, scraping down areas and rebuilding them broad fields of color. The painting evokes a specific moment in time—light suddenly turned on in a darkening interior—by the triangle of shadow on the boy's face and the rhyming green triangle of light falling on the garden. The artist's incising on the window frame and stippling on the left side produce a pitted quality that suggests the eroding effects of light or time, a theme reiterated by the presence of the metronome and burning candle on the piano.
Proto-Cubism is an intermediary transition phase in the history of art chronologically extending from 1906 to 1910. Evidence suggests that the production of proto-Cubist paintings resulted from a wide-ranging series of experiments, circumstances, influences and conditions, rather than from one isolated static event, trajectory, artist or discourse. With its roots stemming from at least the late 19th century, this period is characterized by a move towards the radical geometrization of form and a reduction or limitation of the color palette. It is essentially the first experimental and exploratory phase of an art movement that would become altogether more extreme, known from the spring of 1911 as Cubism.
Bathers is a Proto-Cubist painting, now lost or missing, created circa 1908 by the French artist and theorist Jean Metzinger. Possibly exhibited during the spring of 1908 at the Salon des Indépendants. This black-and-white image of Metzinger's painting, the only known photograph of the work, was reproduced in Gelett Burgess, "The Wild Men of Paris", Architectural Record, May 1910. The painting was also reproduced in The New York Times, 8 October 1911, in an article titled "The 'Cubists' Dominate Paris' Fall Salon", and subtitled, "Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do".
Three Figures in a Room is a 1964 oil-on-canvas triptych painting by British artist Francis Bacon. Each panel measures 198 × 147 centimetres (78 × 58 in) and shows a separate view of his lover George Dyer, whom Bacon first met in 1963. It is the first of Bacon's works to feature Dyer, a model to whom he returned repeatedly in his paintings. The work has been described as Bacon's first secular triptych.
Bathers by a River, also known as Bathers at the River and occasionally referred to as simply Bathers, is a large 1917 oil-on-canvas painting by French artist Henri Matisse. Matisse began painting the canvas in 1909 and finished the painting in the fall of 1917, making it one of three pictures he painted during the Battle of Verdun.
The French Collection is a series of twelve quilt paintings by American artist Faith Ringgold completed between 1991 and 1997. Divided into two parts composed of eight and four quilts each, the series utilizes Ringgold's distinct style of story quilts to tell the fictional story of a young African American woman in the 1920s, Willia Marie Simone, who leaves Harlem for Paris to live as an artist and model. The stories, illustrated in acrylic paint and written in ink surrounding the paintings, narrate Willia Marie's journey as she befriends famous artists, performers, writers, and activists, runs a café and works as a painter, and develops a distinct Black feminist intellectual worldview based on her experiences and identity. Willia Marie's interactions with notable modernist artists and their oeuvres are an archetypical example of Ringgold's responses to the predominantly white male artistic canon, wherein she often directly invoked, embraced, and challenged the central figures of modernist art.
Goldfish is an oil-on-canvas still life painting by French visual artist Henri Matisse. Painted in 1912, Goldfish was part of a series that Matisse produced between the spring and early summer of 1912.
Arab Coffeehouse, is an oil-on-canvas painting by French visual artist Henri Matisse. Produced in 1913, Arab Coffeehouse was part of a series of goldfish paintings that Matisse produced in the 1910s and 1920s.
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