Skip to main content

Artists at Sea: Matisse and the Med

After writing a 1,000 word piece about Winslow Homer's eighteen month stay at an English fishing village, I'm writing a series of primers about other artists who made similar journeys.

Henri Matisse, "Open Window, Collioure," oil on canvas, 1905
Who

Henri Matisse (1869-1954), French painter.


Coastal association

The Mediterranean coast of southern France.


First coastal visit

In the 1890s, Matisse spent significant time on two different coastlines: Brittany, from 1894 to 1896, and Corsica in 1898. But it was his first visit to Collioure in 1905 that brought about a transformation in his ideas about painting. Collioure was/is a tiny fishing village in the extreme southeast of France, about 10 miles from the Spanish border.

Henri Matisse, "View of Collioure," oil on canvas, 1905
Reasons for visiting

He joined the painter Andre Derain and spent the summer exploring Derain's ideas of using patches of pure colour, applied in almost crude brushstrokes, to convey light and mass. Matisse may also have wanted a change of scenery, because in 1904, aged 34, he had his first one-man show, at Vollard's, and it was a complete failure.


Dates visited

1905.


Effect on Work

The traditional themes of "sea" painting--boats, the fisherman's life, the atmospheric effects of air, clouds, and water--didn't interest Matisse. The light and sea of Collioure, and the Mediterranean in general when he moved to Nice in the early 1920s, presented subjects that enabled Matisse to make a radical break-out from "line"-based painting into pure colour. The great Matisse paintings of the next ten years ("such as "The Red Studio", "The Dance") were made possible by this summer by the Mediterranean in 1905.


Sea Rating

8 out of 10.

Popular posts from this blog

Restoring my Printing Press

I've just finished restoring and assembling my large etching press -- a six week process involving lots of rust removal, scrubbing with steel wool, and repainting. Here is a photo of the same kind of press from the Chicago Printmakers Collaborative: And here is a short YouTube video of me testing the press, making sure the motor still works after nearly seven years of lying in storage:

Brancusi in Plastic

Artist Mary Ellen Croteau is showing these columns made from recycled plastic cartons and lids in the window of the Columbia College bookstore on Michigan Avenue. They are a playful homage to Brancusi's "Endless Columns", with a serious environmental message for our times: Image copyright Inhabitat.com and Mary Ellen Croteau Mary Ellen also runs a wonderful experimental art gallery in a window space in west Chicago, called Art on Armitage . I will be exhibiting a mixed media piece there during August 2012.

How to etch a linoleum block

Linoleum as a material for printmaking has been used for nearly a hundred years now. Normally, you cut an image out using special gouges similar to woodcut tools, cutting away the lino around the image you want to print. This is called relief printmaking, because if you look at the block from the side, the material that remains stands up in relief from the backing material. You then roll ink with a brayer over the surface of the block, place paper over it, and either print by hand or run it through a press. You can do complex things this way (for example, reduction linocuts), but the beauty of the process is that it is quick, simple, and direct. Incised lino block, from me.redith.com Etched lino block, from Steve Edwards A few years ago, I saw some prints that were classified as coming from etched linoleum blocks, and I loved the textures I saw in them. In the last few months, I've been trying to use this technique in my own studio, learning about it as one does these d...