Art by Meryl Jackson 1906 Hung in London Musum
A Deep Dive Into Matisse's 'The Red Studio'
In a coming exhibition, MoMA will feature the artworks inside this famed painting. Two of them will be on public view for the first time in 50 years.
When Henri Matisse painted "The Red Studio" in the Paris suburb of Issy-les-Moulineaux in 1911, he non only permit the viewer into his work space, with its box of crayons, ceramic plate and grandfather clock. He also captured tiny versions of his own paintings propped against the walls, and his sculptures perched on stools.
At present, for the get-go fourth dimension since they left Matisse's studio, those pieces of art will exist displayed alongside "The Red Studio" at the Museum of Modern Art in an exhibition that opens adjacent May.
"You volition see 'The Crimson Studio' and you lot will also encounter in existent life the paintings and sculptures that he miniaturized and reproduced in the painting itself," said Ann Temkin, MoMA'south chief curator of painting and sculpture, co-organizer of the exhibition. "This is one of the great artists playing with the concept of fine art within art, presenting his own work within his own paintings. He painted a show of his work and we're realizing it."
Temkin collaborated on the exhibition with Dorthe Aagesen, chief curator and senior researcher at the SMK, the National Gallery of Denmark in Copenhagen, which owns three of the paintings — "Le Luxe Two" (1907-08), "Nude With a White Scarf" (1909) and "Nymph and Faun" (1911). Afterwards the evidence closes at MoMA on Sept. 11, 2022, it will travel to the SMK for 4 months, starting that October.
Epitome
"It'southward a cardinal to understanding what Matisse was aiming at in that important moment in his career," Aagesen said. "Nosotros're reconstructing every move that led to the creation of that painting."
This is the first time these works will be shown as a grouping — the terminal time they were all together was in Matisse's studio, when he painted them in this masterwork.
Of the 11 pieces created between 1898 and 1911 that are represented in the picture, two are privately owned and will be on public view for the first time in more than 50 years. One was destroyed many decades ago ("G Nu à la Colle"). The other viii are in museum collections in Europe and North America.
As well featured volition be Matisse paintings and drawings that chronicle to "The Crimson Studio" — namely "The Studio, Quai Saint-Michel" (1917) and "Large Red Interior" (1948) — as well as archival materials such as photographs, catalogs, letters and press clippings.
The exhibition exemplifies how a generation of scholars is moving away from big retrospectives toward earthworks into more focused topics that pay attending to a specific moment in an artist's career.
"You don't want to gather things that have been gathered together all over again," Temkin said. "Yous likewise want to introduce audiences to close looking, the thought that yous can spend a lot of time thinking about 1 work of art and accept a deeper feel."
The painting was unusual for its time — representing identifiable objects awash in a flat monochrome surface of Venetian crimson, combining the figurative with the abstract and dismantling the illusion of depth.
"He's leaving his ain artworks to be revealed, just everything else in the room is covered by this reddish," Temkin said. "Information technology's a very radical way of depicting a 3-dimensional space he was continuing in as a two-dimensional picture, taking a very traditional subject from centuries of art history — the artist's studio — merely creating an absolutely modern pictorial infinite."
"Whatever delineation of a studio is past definition a meditation on what you practice as an artist," Temkin added, calling it "a revolutionary moment in the tradition of studio paintings because of the way it transforms that tradition."
The red, as it happens, was an afterthought; Matisse finished the painting earlier deciding to comprehend it in that colour, an evolution revealed by research over the concluding 20 years. A section of the exhibition volition explore that conservation history.
"He had a whole painting made and so it was a tardily-phase decision that he would add together this blood-red," Temkin said. "The idea of the artist's procedure is that when yous beginning you may not know where you're going. Y'all may call back you practice, but the painting takes over — and on some level the artist is listening to the painting or following the painting's instructions near what to do next. This is an exceptional example of a painting becoming a unlike painting in the procedure of making."
Vi feet tall by vii feet wide, the sheet was amongst a series of works commissioned by Matisse's early on patron, Sergei Shchukin, a Russian cloth businessman, for whom the artist made his "Dance" and "Music" paintings.
Notwithstanding Shchukin declined to acquire information technology for reasons unknown (he did purchase the painting'due south predecessor, "The Pink Studio"). "He may take told Matisse he liked his paintings with figures amend, but at the aforementioned time he bought other paintings without figures, so I call back he was just being tactful," Temkin said. "Just if you lot call up of what this painting must take looked like in 1911, you can imagine it was incomprehensible."
"No ane had made a monochrome picture before," she added. "Here he jumped into a territory of abstraction and a plane of color in a way that was certainly unrecognizable."
So Matisse kept the painting for more than 15 years, during which it traveled to the 2nd Post-Impressionist Exhibition in London in 1912 and to New York, Chicago and Boston for the 1913 Arsenal Evidence.
"The Red Studio" was somewhen bought in 1927 by David Tennant, the founder of the Gargoyle Social club in London, where information technology hung in the mirrored ballroom until the early on 1940s, after which it was purchased by the Bignou Gallery in New York, and and so acquired past MoMA in 1949. Finally, in the 1950s, people took detect.
Prototype
"This painting that for several decades had not been fully appreciated — suddenly art history caught up to information technology," Temkin said. "So you have somebody like an Ellsworth Kelly or a Marker Rothko or any number of artists in Europe and the U.S. seeing this painting as such a landmark."
"It's a really beautiful example of how art history is full of works that are ahead of their time and that detect their place several decades after they were actually made," she continued. "It's the verbal aforementioned thing that happened to Monet's 'Water Lilies': They were made in the teens and '20s and completely ignored and scoffed at as the work of an old Impressionist whose eyesight wasn't very good anymore. And so when Jackson Pollock and Barnett Newman started making colour fields, in that location was involvement in the 'Water Lilies' 30 or 40 years later."
Although "The Red Studio" was fabricated 110 years ago — and the evidence has been in the works for four years — Temkin said it has particular resonance in today's world, when the pandemic has prompted reassessment and introspection.
"Here is an creative person going outside his comfort zone," the curator said. "It's Matisse attempting something even he did not completely sympathise. And that is such a model for fine art making in any field."
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Source: https://www.nytimes.com/2021/09/12/arts/design/matisse-studio-painting-moma-.html
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