Both Matisse's Bonheur De Vivre And Les Demoiselles
Introduction
Art is not static. Styles interact and overlap over periods of time. Newer artists are inspired by, and soon overtake, their teachers and mentors, or they simply grow into their own art technique, thus creating the next great art period. This essay with show how both Matisse’s Bonheur de Vivre and Picasso’s Les Demoiselles d’Avignon can be seen as conforming with, and independent of, Paul Cézanne’s painting style of The Large Bathers.
The dramatic painting techniques of the artists being compared are expressed as follows: Paul Cézanne was part of the Post-Impressionist movement, Henri Matisse painted within the style of Fauvism, and Pablo Picasso developed Cubism.
In order to begin to describe, compare, and show adaptation to
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We initially see the play of light, the movement of the water, paintings full of light. While Paul Cézanne created his paintings outdoors, as a Post-Impressionist, he added an emotional aspect to the paintings. He is seen as one of the authoritative artists of the Post-Impressionism age. His painting entitled The Large Bathers, is of a multitude of nudes. He uses small, linear brushstrokes of muted colours to portray the sensuality of the bathers; the use of streamlined, minimalist colours as his lines of space and form. A pyramidal space is defined by the trees and figures. Figure 1 shows us the displayed feelings and understated emotion in his painting entitled, The Large Bathers.
Figure 1: The Large Bathers (“The Large Bathers,” n.d.)
Matisse took the deep symbolism of within The Large Bathers and added rich colours, across the spectrum. As with Cézanne, we see nude figures, couples, reclining, wandering. The distinctive brushwork and the use of colour to delineate form as with Cézanne. Matisse adds swaths of brilliant colours to his masterpiece, primary and secondary colours, creating intense emotion. While Cézanne’s The Large Bathers appears stark, muted, perhaps, alienating, Matisse’s Bonheur de Vivre shows warmth and soft caresses, inviting. Within Figure 2, a informal pyramidal composition is also formed between the trees and the nudes.
Figure 2: Bonheur de Vivre (Harris & Zucker,
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