Lecture 12Outline of Last LectureI) CezanneA) Three monumental canvases on the level of history painting1) Large Bathers (1894-1905)2) Large Bathers (1900- 1905)3) Large Bathers (1898-1906)II) KlimtA) Golden Period1) Portrait of Adele Bloch-Baurer (1907)B) Medicine (1900- 1907)C) Philosophy and Medicine (1900- 1907)D) Goldfish (1901- 1902)E) Water Serpents (1907)F) Expectation (1905-1909)G) Beethoven Frieze (1902)III) SecessionOutline of Current LectureI) MatisseA) Sideboard and Table (1899)B) Carmelina (1903)1) Compare to Felix Feneon against the Enamel of a Background Rhythmic with Beats and Angles, Shades, and Colors, Paul Signac (1890)C) Connection to musicD) Luxe, Calme, et Volutpe (1904)E) Break with post-impressionism; show in the autumn salon in 19051) The Fauves2) Henri Rousseau, The Hungry Lion Throws Itself on the Antelope (1905)3) Andre Derain, The Dance (1905-1906)4) Matisse, The Woman with a Hat (1905)5) Open Window, Collioure (1905)6) Matisse, Woman with a Green Stripe (1905)a) Compare to Van Gogh’s The Night Café7) Picasso, Portrait of Gertrude Stein (1906)8) Matisse, Landscape at Collioure (1905)9) Matisse, Le Bonheur de vivre (Joy of Life), (1906)a) Compare to Jean-Auguste-Dominique Ingres, The Golden Age (1862)b) Compare to Goya, Blind Man’s Bluffc) Compare to Titian, Bacchanal (1523-1524)d) Compare to Carracci, Reciprico Amore (1589-1595)F) What is the origin of art?Current LectureII) MatisseA) From the studio of Gustav MoreauB) Strange and eccentric painter1) Incredible stylistic elasticitya) Drawn to divisionism (pointillism) and Seurat’s neo-impressionismi) Interest in plays of lightb) In 1903 he breaks with divisionism and towards Manet’s style and an interest in posed models and academic paintingi) Privilege of the interior and the studio in both stylesc) Prioritiszation of chroma and colord) Attention to the medium; reflexivity (in strange ways)i) Nothing is centered, the mirrors and pictures are dispersed throughout the picture like some kind of vortexC) Sideboard and Table (1899)1) PointillismD) Carmelina (1903)1) Scene of artistic practice itself; a picture of art making itself2) A picture of a scene being doubled and copied before us (by the mirror behind the model)a) Repetition of the red shirtb) The mirror image of the model is confused for the viewer3) Not just about the genre of portraitizationa) Structure of echoing; pictures within pictures, mirrors within paintings, frames within frames4) Compare to Felix Feneon against the Enamel of a Background Rhythmic with Beats and Angles, Shades, and Colors, Paul Signac (1890)a) Carrying on Seurat’s divisionist style at the moment that Seurat diesb) The title names something like musicc) Predictive of psychedeliai) Rhythm itselfii) Decorative expanse of coloriii) Unnatural backgroundiv) Decoration and painting breaking with nature (complete non-mimetic)  musicE) Connection to music1) Music is not inherently a mimetic art-form2) Music is typically a collectively-produced art forma) Particularly performance of musicF) Luxe, Calme, et Volutpe (1904)1) Reference to poetry by Baudelaire2) Division of strokes, suspended on the canvas3) Horizon lines and clouds are created by the play between colors4) Intense (pure) color unlike what has been seen beforea) No convincing illusion of natureb) Paradoxical in purity and strangeness at the same time5) Pastoral, but is it?6) We are definitely in the presence of a picturea) Citation of many pictures; memory or encyclopedic  quoting the pasti) Border of land and water, Seurat’s bathersii) Variously posed nudes reflective of Cezanneiii) Clothed figure as in Manet’s Dejurner sur l’herbeiv) Cezanne’s yellow Christb) “The breakdown of sense”G) Break with post-impressionism; show in the autumn salon in 19051) A new group of painters follow Matisse and break with the older generation  The Fauves2) Henri Rousseau, The Hungry Lion Throws Itself on the Antelope (1905)a) A Sunday painter, a tax collector in his day job; Le Douanier)b) Desired to rival academic paintingi) Painting scenes of conflict and combat in animal lives and jungle natureii) Self-taught: painting outside the academic style, outside of tradition, naïve to the modernist traditionc) Gazes returned by the animals in the jungle as we gaze upon the struggle at the center of the canvas, the center of our attention3) Andre Derain, The Dance (1905-1906)a) Turn away from concern with modernity, turn towards the primeval  lessons learned from Gauguinb) Almost Egyptian in the display of their bodies to the viewerc) Jungle settingd) Arabesque lines, intense colori) Non-mimetice) Flattening, displaying all sides to the viewer at once4) Matisse, The Woman with a Hat (1905)a) Onslaught of scandal not seen since Olympiab) Portrait of Matisse’s wifec) Drawing becomes schematic and mask-liked) Colors based not in mimetic idease) He shoulder looks more like a palate of color than a painted objecti) Patchy colorii) Abandonment of the systematic brush stroke  thinking systematically about the whole painting5) Open Window, Collioure (1905)a) Landscape motivationb) Contradiction is created by the academic genre and the radical use of colorsc) Vivid hues of contrasting shades are favoredi) Almost violentd) Handling of painti) Asystematic in the middle: broken but not systematic (something like Van Gogh)ii) Thin planes applied around the edgese) Appears like a relief, counter-illusionistic6) Matisse was interested as Cezanne’s understanding of the entire canvas as a field of forces or relationsa) Push and pull of color and contrasts across the entire field of canvasb) A relational idea of colors balancing in concert (collaboration, as in music)7) Matisse, Woman with a Green Stripe (1905)a) Compare to Van Gogh’s The Night Caféb) Identifiable as primitivistc) Matisse’s wife in Asian guisei) The urge to de-familiarize and inhabit another cultured) Green stripe is an arbitrary marking of the facei) Serves to split the canvasii) Splits his wife and the colors/styles used to make her face8) Picasso, Portrait of Gertrude Stein (1906)9) Matisse, Landscape at Collioure (1905)a) Beyond the size of easel painting10) Matisse, Le Bonheur de vivre (Joy of Life), (1906)a) The way that this grand scale brings bodies and the world together  history and mythological painting? Pastoral? Classisism? Reconciliation of man and natureb) Return of arabesque and contour linesi) A thickness that could