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Influences On Henri Matisse's Work

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Henri Matisse’s work went from painting on oil canvases to painting cut outs. As the large scissors run through the paper it is juxtapose to his brushstrokes on a canvas. Matisse’s unique cut out paintings in the mid 20th century was strongly influenced by tragedy, his previous work and a Russian assistant. Though the medium was a new invention, its development was a logical outgrowth of key ideas (MoMa).
Matisse began painting in 1889. He was remarkably committed to his art; he then later had to warn his fiancé. The love he has for her is real but loves his painting more. Matisse returned to Paris in 1891 to be a student of William-Adolphe Bougereau. Matisse made hundreds of drawings, original prints and illustrated books. He moved to Villa …show more content…
Although the paper cut-out was Matisse’s major medium in the final decade of his life, his first recorded use of the technique was in 1919 during the design of decor for the Le chant du rossignol, an opera made by Igor Stravinsky. He moved to the hilltop of Vence in 1943, where he produced his first major cut-out project for his artist's book titled Jazz. However, these cut-outs were conceived as designs for stencil prints to be looked at in the book, rather than as independent pictorial works. At this point, Matisse still thought of the cut-outs as separate from his principal art form. His new understanding of this medium unfolds with the 1946 introduction for Jazz. After summarizing his career, Matisse refers to the possibilities the cut-out technique offers, insisting "An artist must never be a prisoner of himself, prisoner of a style, prisoner of a reputation, prisoner of success” (Spurling). Matisse went back to Paris for the winter and 1947. He claimed that he perfected his wall of découpages’. While staying in Paris during the summer of 1946 Matisse had cut out a swallow from a sheet of writing paper. It made him have to tear up his beautiful shape. His works were still in progress. Matisse was not sure what he was going to do with one on the walls (Friedman

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