Henri Matisse: The Cut-Outs
| Author | : | |
| Rating | : | 4.77 (797 Votes) |
| Asin | : | 0870709151 |
| Format Type | : | paperback |
| Number of Pages | : | 302 Pages |
| Publish Date | : | 2014-04-21 |
| Language | : | English |
DESCRIPTION:
(Joseph Wolin Time Out Magazine)Vibrant designs of apparent simplicity spooling from a master's hands in the last decade of his life, each one a tableau of luminosity and power. (Samuel Cochran Architectural Digest) . A technical summary of the cut-outs explains the range of papers used, the paint used to colour the sheets and the method of composition. (Alexander Adams The Art Newspaper)in the 1950's, Matisse competed, consciously or not, with the very latest development in painting, Abstract Expressionism, filling vast surfaces with iconic forms and radiant color. A spirit as creative as his, however, was not to be restrained. (The Economist)In the late 1940s, suffering from ill health, the French artist Henri Matisse
Matisse's Cut-outs at the MoMA This is the catalogue of the exhibition organized by New York's Museum of Modern Art, mounted at the Tate Modern in London from April to September 201Matisse's Cut-outs at the MoMA Kenneth Hughes This is the catalogue of the exhibition organized by New York's Museum of Modern Art, mounted at the Tate Modern in London from April to September 2014 and then at the MoMA from October 2014 until February 2015. The impetus for the exhibition was the major campaign of conservation of Matisse's huge "The Swimming Pool" cut-out, which the artist designed for his dining room in the Hôtel Régina in Nice in 1952. and then at the MoMA from October 201Matisse's Cut-outs at the MoMA Kenneth Hughes This is the catalogue of the exhibition organized by New York's Museum of Modern Art, mounted at the Tate Modern in London from April to September 2014 and then at the MoMA from October 2014 until February 2015. The impetus for the exhibition was the major campaign of conservation of Matisse's huge "The Swimming Pool" cut-out, which the artist designed for his dining room in the Hôtel Régina in Nice in 1952. until February 2015. The impetus for the exhibition was the major campaign of conservation of Matisse's huge "The Swimming Pool" cut-out, which the artist designed for his dining room in the Hôtel Régina in Nice in 1952. It did give a good review of the exhibit and included useful information Miz Bee I thought the color was not bright enough in many of the images. It did give a good review of the exhibit and included useful information. Although many of the details can be found online in other sources. The fold out of the swimming pool (1952) made the purchase worth the purchase of yet another book on Matisse. It was well documented with photos of the artist and of this drawings. I would definitely recommend it to a. covers the first exibition of Matisse's cut-outs in over 30 years in NYC. Emagen Saw this at MOMA in NYC when I saw the cutouts November 2014. Didn't want to cart the book around so waited and ordered in on Amazon. Worth owning The collection was borrowed from museums and private parties all over the world. A once in half a life-time opportunity.
Karl Buchberg is Senior Conservator at The Museum of Modern Art.Nicholas Cullinan is Director of the National Portrait Gallery in London.Jodi Hauptman is a Senior Curator at The Museum of Modern Art.Samantha Friedman is an assistant curator of the Department of Drawings and Prints at The Museum of Modern Art.Flavia Frigeri is an assistant curator at Tate Modern in London; she is the organizing curator for Tate’s Young Patrons.Nicholas Serota is director of Tate Modern's art museums and galleries.
The result of research conducted on two fronts--conservation and curatorial--the catalogue offers a reconsideration of the cut-outs by exploring a host of technical and conceptual issues: the artist’s methods and materials and the role and function of the works in his practice; their economy of means and exploitation of decorative strategies; their environmental aspects; and their double lives, first as contingent and mutable in the studio and ultimately made permanent, a transformation accomplished via mounting and framing. Richly illustrated to present the cut-outs in all of their vibrancy and luminosity, the book includes an introduction