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MATISSE'S DRAWINGS AT THE PUSHKIN STATE MUSEUM OF FINE ARTS IN MOSCOW (Risunki Matissa v sobranii Gosudarstvennogo muzeja izobrazitel'nyh iskusstv imeni A. S. Pushkina)

100%
Mishin V.
Makslas Vesture un Teorija
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2006
|
vol. 6-7
16-26
EN
The article gives a short insight into the famous French artist Henri Matisse's (1869-1954) collection of drawings at the Pushkin State Museum of Fine Art. The focus of analysis is on the drawings selected for the exhibition of Matisse's works in Riga, September - October 2005. They are examined in the context of the collection and the artist's work in general. The collection consists of 112 works in total. It has been developed over many years and enriched from different sources. The renowned Russian collector Sergey Shchukin was among the contributors. The works cover the period from 1905 to 1912. One should make special mention of the donations and acquisitions of Matisse's secretary Lydia Delektorskaya. She started to work with Matisse in Nice in 1932, becoming his friend, assistant and model. The museum has received 96 works from Delektorskaya. Matisse's children should also be mentioned among the donors - his daughter Marguerite Duthuit and grandson Claude Duthuit. One drawing was received from writer Ilya Erenburg and film director Sergey Yutkevich.
2

MATISSE, PLANTS AND DECORATIVENESS (Matisse, Plantes et Decoration)

100%
Chassey E. d.
Makslas Vesture un Teorija
|
2006
|
vol. 6-7
27-32
EN
The article explores floral drawings by French artist Henri Matisse, his attempts to link sensuality of the female body with the botanical world and the role of decorativeness and ornament in his art.
3

HENRI MATISSE AND LATVIAN ART (Anri Matiss un latviesu maksla)

63%
Klavins E.
Makslas Vesture un Teorija
|
2006
|
vol. 6-7
33-43
EN
In autumn 2005 the Foreign Art Museum in Riga exhibited an excellent collection of works by Matisse from the Pushkin Museum of Fine Arts in Moscow. Apart from the purely aesthetic pleasure it raised the question of his place in the history of Latvian art. Despite the fact that in Latvia there was no stable circle of followers, Latvian artists proved to have a surprisingly enduring interest in the ouevre of the French master. Some of his works were exhibited already in 1910 in Riga and the first promoter of Modernism in Latvia, Voldemars Matvejs, presented Matisse as one of its paradigms. The first Latvian painter whose early style was unmistakably dependent on Matisse's paintings seen in Moscow in 1916-1917 was Gederts Eliass. He not only constructed bright, colourful compositions with the same iconography (lazy figures of models, ornamental dresses, fragments of interior settings) but also used the bright colour ranges representing more random and ordinary motifs derived from his surroundings. In the course of the 1930s some young artists from the so-called Tukums Group tried to revive the concept of early Modernism related to the Fauves and Matisse. As a result, Karlis Neilis developed his individual intimate style uniting brilliant colour areas with some effects of plein-air light. Later, as an emigre in Austria, he took up more abstract style but preserved his commitment to the use of decorative colourfields. During the first decade of the Soviet occupation Matisse, as well as other French modernist artists, were seen by the guardians of the official ideology as formalists and products of bourgeois decadence. In the years of the so-called thaw and later, a second 'discovery' of Matisse was possible. A devotee of the Fauves was Leonids Arins, more ambitious, monumental and full of pathos was another Latvian 'Frenchman' - Rudolfs Pinnis who lived in Paris in the 1930s.
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