Sorry for the blogging hiatus – sometimes life intrudes.
Wednesday I went yet again to see the Museum of Modern Art's Henri Matisse, The Cut-Outs (extended until February 10th). There are a couple of things about the work that especially struck me this time.
It occurred to me that while Zulma, 1950, is commonly referred to as a nude, this figure is at least partially clothed, unlike Matisse's other cut-out nudes.
|Henri Matisse, Zulma, 1950, 108 x 60 inches, gouache on paper, (Statens Museum for Kunst, National Gallery of Denmark).|
The other thing that struck me this time is how important small details are to Matisse's art. They help animate his work and give it life. This can best be seen in one of his largest and most abstract works, The Snail, 1953.
|Henri Matisse, The Snail (L'Escargot), 1953, Gouache on paper mounted on canvas, 113 x 113 inches (Tate Gallery, London).|
In fact, because of the way the shapes slightly overlap at their corners, or barely butt up against each other, they are all anchored together and are visually pushed out into the viewer's space.
|Detail center, Henri Matisse, The Snail (L'Escargot), 1953.|
|MoMA lobby soon after it opened on December 24th.|