Sorry, this entry is only available in Italiano.
Forse mi piace perché è un artista piacione. O forse perché davvero è uno che riesce a dire qualcosa. Direte è uno che piace alla gente che piace e quindi bisogna farselo piacere. Guarda dove espone: alla Fondazione Cartier…
È invece dico che Cartier si merita le sue opere, perché sono veri gioielli.
Fosse uno dei tanti iperrealisti non mi interesserebbe. Le sue figure, i suoi corpi, sono sempre fuori scala: o troppo grandi o troppo piccoli. Così il realismo va a farsi benedire. Ma poi la scelta dei soggetti…
Guardate questi due anziani sotto l’ombrellone. Monumentali. Lei guarda lui con tenerezza. Lui appoggia un braccio sulla fronte e guarda lontano. Con l’altra mano afferra il braccio di lei. C’è una complicità, una fierezza. Un amore maturo. Coraggioso. Monumentale, appunto.
Too many things about it. For now, I publish pictures.
This post is inspired by and dedicated to Petra
In January I was in New York and I saw at the Metropolitan Museum “Matisse – In search of true paintings”. A extraordinary exhibition, really. Jerry Saltz called it a show «intoxicating, potentially dangerous». The curators, Dorthe Aagesen and Rebecca Rabinow, have chosen to present Matisse as a painter of research, never satisfied with their results.
In the Thirties the painter chooses to photograph the stages of their work. Lydia Delectorskaya said that the photographer was called «when, at the end of a session, it seemed to Matisse he had arrived at a significant stage.»
In December 1945 he decided to show the public the “behind the scenes” of his work and, at the Maeght Gallery in Paris, he exhibited some of his works juxtaposed with photographs of the stages of labor. Some of these “installations” are repeated in the New York exhibition.
In an interview in 1945 just Matisse explained: «I have my conception in my head, and I want to realize it. I can, very often, reconceive it. But I know where I want to end up. The photos taken in the course of the execution of the work permit me to know if the last conception conforms more to what I am after than the preceding ones, whether I have advanced or regressed.»
Take the case of The Dream, 1940. Fourthteen photos are of this painting. The first is from January 7, the last of September 19. Nine months of gestation. It is impressive to see how much work, how much thought is behind an image that, at first glance, seems the quintessence of spontaneity. The exhibition in New York shows that this intense activity, technical and of thought it was constitutive of Matisse’s modus operandi.