Henri Matisse: The Cut-Outs, currently on view in the Museum’s sixth floor temporary exhibition galleries, looks closely at the works Matisse created in the final decade of his career. Adopting painted paper as his primary medium, and scissors as his chief implement, he invented a radically new form that came to be called a cut-out. But while this work was utterly new, its concerns were consistent with those that had driven Matisse throughout his entire career. Read more
Posts tagged ‘Henri Matisse’
For the fourth year running, MoMA visitors who pass through the Museum’s film entrance during the days leading up to Halloween are treated to an iconic modern-art masterpiece—in seasonally appropriate pumpkin form. This year, in celebration of the Henri Matisse: The Cut-Outs exhibition, the knife-wielding crazies at Maniac Pumpkin Carvers have “cut out” a beautiful interpretation of Matisse’s Blue Nude. Read more
“One day the artist Henri Matisse cut a small bird from a piece of white paper. It was a simple shape but he liked the way it looked and didn’t want to throw it out. So he pinned it on the wall of his apartment to cover up a stain.”
Thus begins Matisse’s Garden, the story of an endlessly curious artist who used scissors and painted paper to make something utterly new. Written by Samantha Friedman, an assistant curator at MoMA and co-organizer of the exhibition Henri Matisse: The Cut-Outs, and featuring colorful cut-paper illustrations by Italian designer Cristina Amodeo, it’s an immersive introduction to Matisse’s vibrant cut-outs. Read more
On October 12, the exhibition Henri Matisse: The Cut-Outs—the largest presentation of this final chapter of Matisse’s work ever mounted— will open at MoMA. Much of the anticipation surrounding this show stems from the fact that this visually vibrant and conceptually radical body of work has not been seen on this scale in New York in over 50 years. Read more
I am a big proponent for slowing down to look more closely at art when visiting museums. Sometimes, instead of scrambling to see as many works as possible (and finding that few stick), that means focusing in on just a small number of works during a visit. Read more
MoMA’s celebration of the landmark year 1913 continues with the 21st installment in our series of videos highlighting important works from 1913 in the Museum’s collection. Read more
Five for Friday, written by a variety of MoMA staff members, is our attempt to spotlight some of the compelling, charming, and downright curious works in the Museum’s rich collection.
When I first read this article about the world’s most beautiful public pools, I couldn’t help but do a little daydreaming.
I distinctly remember my first visit to the new MoMA building. I was nineteen and had just celebrated my first New York City anniversary (so I am of the generation that cannot clearly recall MoMA in its pre-2004 guise). Of the many snapshots in my mind from that day, none is as vivid as the vision of Henri Matisse’s 1909 painting Dance (I). As some may remember, it was hanging in an interior stairwell that joined the fourth- and fifth-floor galleries. In addition to being viewable from those stairs, it could also be glimpsed through a window that opened up to the Marron Atrium below, and that is how I first saw it. As I rounded a corner and entered the space, cosmic in size, I raised my head and the familiar piece of history slowly unfurled above me, and I let a smile unfurl with it. Read more
On one of my recent early-morning checks of the fifth-floor collection galleries—a daily duty of the curatorial staff, to spot any oddities—an elusive, visceral feeling gave me pause. It took me a moment to recognize that it was prompted by the wall color, which, as I moved from the European Expressionist gallery to the adjacent Matisse room, had changed from a light grey to what appeared to be a bright white. This color change is subtle enough to likely go unnoticed by many visitors, but deserves a brief moment of attention.
For the Portrait in Seven Shades piece—which we performed last week at Jazz at Lincoln Center’s Rose Theater—my goal was to select seven recognizable artists whose different styles would help create a contrast between each of the seven movements in the piece.
I’ve already talked about the “Monet” and “Dalí” movements, and today am moving on to “Matisse,” which very much expresses the reaction I have when I see Henri Matisse‘s paintings such as Dance (I): joy. Read more