Motiv slikarjevega ateljeja v delih Henrija Matissa in vpliv njegovega Rdečega ateljeja na slikarje v drugi polovici 20. stoletja
|
| Title | Motiv slikarjevega ateljeja v delih Henrija Matissa in vpliv njegovega Rdečega ateljeja na slikarje v drugi polovici 20. stoletja |
| Authors | |
| Abstract | The studio motif was the central iconographic theme in Matisse’s oeuvre because it gave him the opportunity for introspection. In his fauve and experimental period, Matisse painted the studio without figures (the studio inventory itself), whereas in Nice he was interested in the relation between the (imaginary) painter, the model, and the beholder in the studio. The greatest masterpiece of all of Matisse’s studio pictures is undisputedly The Red Studio (1911, New York, The Museum of Modern Art), which represents a defining moment in European modernism because of its formal radicalism. No painter before that time had reduced a picture of such large format to a single color. Matisse’s intention was not to paint a picture of a real studio interior, but to create a painted equivalent of his emotional experience of his studio. With intense and evenly spread red paint, Matisse achieved a completely flat picture plane, thereby illustrating the idea of the spatial depth of the studio with the addition of easels, pictures, and sculptures. Matisse thus achieved something that seemed impossible: a flat impression of a picture that at the same time offers the feeling of space. With his The Red Studio, Matisse not only broke with tradition, but established a basis for a new tradition. The Red Studio has hung in The Museum of Modern Art in New York since 1949 and has become one of the most influential paintings of the twentieth century. It inspired the Color Field painters Mark Rothko, Barnett Newmann, and Robert Motherwell. Some Slovenian painters also looked to The Red Studio and created several masterpieces. In spite of their quality, they were overlooked outside Slovenia and the former Yugoslavia, and were excluded from European art heritage. The most prominent Slovenian modernist painter, Gabrijel Stupica, did not directly rely on The Red Studio, but is linked with Matisse because of the fact that Stupica entered into modernism only with his picture of the studio as a two-dimensional space. In his pictures of studio interiors, Marjan Dovjak showed a sense for ignoring the depth of space, distorted proportions, and decorative forms similar to Matisse in The Red Studio. Bogdan Borčič also paid homage to Matisse’s masterpiece with his great monochrome pictures of studios. An examination of the studio motif by American and Slovene painters therefore shows that The Red Studio has preserved its inspirational power to today and will therefore remain an interesting topic for future researchers. |
| Publisher | Znanstvena založba Filozofske fakulte / Ljubljana University Press, Faculty of Arts |
| Date | 1970-01-01 |
| Source | Ars & Humanitas: Revija za umetnost in humanistiko Vol 3, No 1-2 (2009) |
| Rights | @ Univerza v Ljubljani, Filozofska fakulteta |