BLUE NUDE (final) Flashcards
(26 cards)
artist
Mattisse
date
1907
medium
oil on cavas
FULL TITLE
Blue Nude (Souveneir of bishkra)
treatment of figure
conceptual not perceptual- anti-naturalistic distortion of human figure (not anatomically correct and exagretrrated proportions)
exaggerated buttocks, spherical breasts, small head, elongated torso, attentuated waist- exaggerated features
upper and lower torso strain and twist against eachother
emphasises mass of human body (buttocks and thighs at centre of composition)
-body realised through heavy outline, abscene of tonal modelling and lac of detail
focal point
emphasises mass of human body (buttocks and thighs at centre of composition)
pose of figure
-recalls western tradition of the reclining nude (e.g titian venus of urbino), a pose seen in ancient antiquity used for venus
first explored this pose through sculpture in 1906 ‘reclining nude’, just before the creation of blue nude
pose displaces african tradition of form, demanding figures to be totemic/upright- rare pose combined with african treatment of subject makes painting radical
IN WHAT OTHER WORKS HAS MATTISSE EXPLORED THIS POSE
‘joy of life’
‘reclining nude’ sculpture
EXAMPLE OF A TRADITIONAL WESTERN RECLINING NUDE
titian venus of urbino
Ingres- grande odalisque (an odalisque was a female slave often depicted with knees bent, arm raised above the head)
Influence of cezanne
regularly saw works by cezanne at the ambroise vollard gallery
blue nude was mantises first paiting since cezannes death in 1906, becomes almost a homage to cezanne
inspiration fueled by cezannes retrospective at salon d’automne in 1907
responds top cezannes pictorial approach especially the creation of sculptural effects through planes of colour, simplification of form, distortion of the human figure (mattisse combines numerous viewpoints, uses heavy outline and brushmarks on the body)
WHEN DID CEZANNE DIE AND WHEN WAS HIS RETROPECTIVE
-died 1906
-retrospective at salon d’automne in 1907
where did he see works of cezanne
the ambroise vollard academy
which of cezannes works did mattisse respond to, and which one did he buy
responded to cezannes ‘large bathers’ in mattisse’s ‘joy of life’
bought ‘bathers’
hat technique of cezannes does mattisse repond to
responds top cezannes pictorial approach especially the creation of sculptural effects through planes of colour, simplification of form, distortion of the human figure (mattisse combines numerous viewpoints, uses heavy outline and brushmarks on the body)
how does it challenge the traditional salon nude
-called an ANTI- SALON NUDE
challenges tradition of fingers and western beauty standards and instead recalls african art and distinguishes itself from the idealised western nude
face and gaze
face is simplified and made up of strong outlines and harsh contrasts of light and dark
face shows strong influence of simplified african masks that fauves responded to (mask features, no direct eye contact- figure anonymus)
brushwork
-energetic, bold, strong to emphasise this energy of the ‘afrtican venus’
-creates a sense of energy like aura around this ‘african venus’ with bluye ellentric marks radiating from her
-influenece of cezanne and Van Gogh
when did mattisse visit bishkra
1906, it was there he became influenced by african art and primitivism
influence of primitivism
-faves became appreciative of african sculpture and many collected the, including mattise and derrain
mattisse would pass a shop with african sculptures in called ‘les pire sauvage’
interest in non western salon nude fueled by gaughins retrospective in the salon in 1906
-large head, spherical breasts, exaggeratted buttocks commonly depicted in african art
what was the shop mattisse would pass called
‘les pire sauvage’
hos restrospective in the salon fueled interest in non western salon nude
interest in non western salon nude fueled by gaughins retrospective in the salon in 1906
how does it embody western perspective of african way of living
depicts it as natural and had more integrity than western society
She is fuly integrated into the setting-this is reinforced by curving hipsechoing the surrounding ature showing connectivity to nature
depiction as an ‘african venus’, lushness, abundance, fertility to way of life (nature and fertility connection)
HOW DOES THE POSE DIVERGE FROM TRADITIONAL POSES IN PRIMITIVE ART
-western pose is at odds with the ceremonial purpose of african and tribal art which demands figure’s to be totemic and upright
-few reclining figures in african art- blends western and african artistic traditions
CRITICAL QUOTE
‘What interests me the most is… the human figure… I do not insist upon the detail of the face, on setting them down one by one with anatomical exactitude’- MATTISSE
‘Cezanne had taken complete possession of us’
