Matisse Cut-outs
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Krátky popis
Towards the end of his monumental career as a painter, sculptor,
and lithographer, an elderly, sickly Matisse was unable to stand
and use a paintbrush for a longer period of time. In this late
phase of his life—he was almost 80 years of age—he developed the
technique of ‘carving into color’, creating bright, bold paper
cut-outs. Though dismissed by some contemporary critics as the
folly of a senile old man, these gouaches decoupées (gouache
cut-outs) in fact represented a revolution in modern art, a whole
new medium that re-imagined the age-old conflict between color and
line.This fresh, standard TASCHEN edition of the first volume of
our original prize-winning XL book provides a thorough historical
context to Matisse’s cut-outs, tracing their roots in his 1930 trip
to Tahiti, through to his final years in Nice. It includes many
photos of Matisse, some rare images, by Henri Cartier-Bresson and
the filmmakerF.W. Murnau and text from Matisse, publisher E.
Tériade, the poets Louis Aragon, Henri Michaux, and Pierre Reverdy,
and Matisse’s son-in-law, Georges Duthuit.In their deceptive
simplicity, the cut-outs achieved both a sculptural quality and an
early minimalist abstraction which would profoundly influence
generations of artists to come. Exuberant, multi-hued, and often
grand in scale, these works are true pillars of 20th century art,
and as bold and innovative to behold today as they were in
Matisse’s lifetime.The editors Gilles Néret (1933–2005) was an art
historian, journalist, writer, and museum correspondent. He
organized several art retrospectives in Japan and founded the SEIBU
Museum and the Wildenstein Gallery in Tokyo. He directed art
reviews such as L'Oil andConnaissance des Arts and received the
Élie Faure Prize in 1981 for his publications. His TASCHEN titles
include Salvador Dalí: The Paintings, Matisse, and Erotica
Universalis. Xavier-Gilles Néret taught philosophy of art and
design at the ESAA Duperré and Université de Paris I Panthéon La
Sorbonne. He studied the connections between philosophy and poetry
with particular relation to Stéphane Mallarmé, about whom he wrote
a number of articles, but was also interested in lesser known
figures such as the poet Claude Tarnaud (one of whose books he
co-edited) and the artists Bernard Saby and Pascal Doury, on whom
he also published.
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