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Matisse Jazz
MX039324
WRITTEN IN FRENCH
Completely conceived by Matisse between 1943 and 1947 at the request of the publisher Tériade, Jazz is the fruit of a period of introspection and renewal for the artist. While convalescing, he developed the technique of cut-out gouaches. The images he creates, "crystallizations of...
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WRITTEN IN FRENCH
Completely conceived by Matisse between 1943 and 1947 at the request of the publisher Tériade, Jazz is the fruit of a period of introspection and renewal for the artist. While convalescing, he developed the technique of cut-out gouaches. The images he creates, "crystallizations of circus memories, folk tales and travels", are an explosion of bright colors and bold shapes.
"Cutting raw in color reminds me of the direct carving of sculptors. This book was conceived in that spirit. " . To accompany them, the artist writes a text in brush and Indian ink, which is reproduced as it is, in his handwriting. These working notes offer a rare insight into Matisse's thoughts, mind and emotions in his art, in which he freely expresses "everything [he] desires".
With Jazz, Matisse reinvents the way images and words can interact, creating a unique immersive visual and literary experience. The book thus becomes a work of art in itself, capturing the essence of the creativity and inventiveness of one of the greatest artists of the 20th century. Excerpt from the text All that's left for me to do, then, is to report some remarks and notes I've made in the course of my life as a painter.
For those who have the patience to read them, I ask the indulgence that is generally accorded to the writings of painters. The character of a drawn face does not depend on its various proportions, but on the spiritual light it reflects. So much so that two drawings of the same face can represent the same character even though the proportions of the faces in the two drawings are different.
In a fig tree, no two leaves are alike; they are all different in form, yet each one cries out: fig tree. If I have confidence in my drawing hand, it's because while I've been training it to serve me, I've tried never to let it take precedence over my feeling. When she paraphrases, I can feel if there's a disagreement between the two of us: between her and the je ne sais quoi in me that seems to be subservient to her.
The hand is but the extension of sensitivity and intelligence; the more supple it is, the more obedient it is. The handmaid must not become the mistress.
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