Back Cambré
这个动作他定义了非常美丽的线条。以腰部为支点往后，整个脊柱和头部向下形成弧线。他下的时候是先以胸腔往下，不是胯部顶出去，膝盖弯曲，那样会破坏线条还会显得僵硬。他把身体绷得很紧，整个Cambré都在缓慢的控制线条。从脚到膝盖，屁屁和背胸头他做出了一个美丽的流畅线条。连手指尖都保持了balanchine hand。他起的也非常美丽，以双臂做牵引 ，先以胸腔起，就像轻轻把自己拉起来一样。 以胸腔再带动头部，所以形成了一种力。
这个动作他定义了非常美丽的线条。以腰部为支点往后，整个脊柱和头部向下形成弧线。他下的时候是先以胸腔往下，不是胯部顶出去，膝盖弯曲，那样会破坏线条还会显得僵硬。他把身体绷得很紧，整个Cambré都在缓慢的控制线条。从脚到膝盖，屁屁和背胸头他做出了一个美丽的流畅线条。连手指尖都保持了balanchine hand。他起的也非常美丽，以双臂做牵引 ，先以胸腔起，就像轻轻把自己拉起来一样。 以胸腔再带动头部，所以形成了一种力。
Henri Matisse
French, 1869–1954
Throughout his decades-long career as a painter, sculptor, draftsman, and printmaker, Henri Matisse continuously searched, in his own words, “for the same things, which I have perhaps realized by different means.”1 Celebrated as both an orchestrator of tonal harmonies and a draftsman capable of distilling a form to its essentials, he long sought a way to unite color and line in his work.
Matisse was born in 1869 to generations of weavers in Le Cateau-Cambrésis, a northern French town whose woolen mills constituted the main industry. He was raised in nearby Bohain, famous for its luxury fabrics. This early exposure to textiles would shape his visual language: examples from his own collection of carpets and cloths from Europe, Africa, and the Middle East would deeply inform his sense of color and pattern and appear in his compositions.
Taking up painting after first studying law, Matisse studied with the Symbolist Gustave Moreau and participated in Paris’s official Salons. His breakthrough as an artist came during the summers of 1904 and 1905, when the bright sunlight of the South of France inspired him—along with artists like André Derain and Maurice de Vlaminck—to create optically dynamic works of bright, clashing colors that led to these artists being derided with the epithet fauves (wild beasts). Known as Fauvism, the work from this period set him on a career-long path that he described as “construction by colored surfaces.”This approach remained central through the various stages of Matisse’s body of work—from his rigorous, abstracted paintings of the 1910s to the decorative, sunlit interiors of his so-called “Nice period” of the 1920s to the radically innovative cut-outs of his last decade.
Though much of his work—whether an ink drawing with a flowing arabesque line or a painting with flat expanses of unmodulated color—looks as if it might have been executed with effortless ease, Matisse cautioned that this effect was only an “apparent simplicity.” In reality, he labored exactingly to achieve the “art of balance, of purity and serenity” of which he dreamed.
1.Dance (I) Paris, Boulevard des Invalides, early/1909
2.The Nightmare of the White Elephant (Le Cauchemar d l’éléphant blanc) from Jazz/1947
3.Forms (Formes) from Jazz/1947
4.The Swimmer in the Tank (La Nageuse dans l’aquarium) from Jazz/1947
5.Lagoon (Le Lagon) from Jazz/1947
6.Lagoon (Le Lagon) from Jazz/1947
7.The Swimming Pool, Maquette for ceramic (realized 1999 and 2005)
Nice-Cimiez, Hôtel Régina, late summer 1952
8.The Swimming Pool, Maquette for ceramic (realized 1999 and 2005)
Nice-Cimiez, Hôtel Régina, late summer 1952
9.Memory of Oceania Nice-Cimiez, Hôtel Régina, summer 1952-early1953
French, 1869–1954
Throughout his decades-long career as a painter, sculptor, draftsman, and printmaker, Henri Matisse continuously searched, in his own words, “for the same things, which I have perhaps realized by different means.”1 Celebrated as both an orchestrator of tonal harmonies and a draftsman capable of distilling a form to its essentials, he long sought a way to unite color and line in his work.
Matisse was born in 1869 to generations of weavers in Le Cateau-Cambrésis, a northern French town whose woolen mills constituted the main industry. He was raised in nearby Bohain, famous for its luxury fabrics. This early exposure to textiles would shape his visual language: examples from his own collection of carpets and cloths from Europe, Africa, and the Middle East would deeply inform his sense of color and pattern and appear in his compositions.
Taking up painting after first studying law, Matisse studied with the Symbolist Gustave Moreau and participated in Paris’s official Salons. His breakthrough as an artist came during the summers of 1904 and 1905, when the bright sunlight of the South of France inspired him—along with artists like André Derain and Maurice de Vlaminck—to create optically dynamic works of bright, clashing colors that led to these artists being derided with the epithet fauves (wild beasts). Known as Fauvism, the work from this period set him on a career-long path that he described as “construction by colored surfaces.”This approach remained central through the various stages of Matisse’s body of work—from his rigorous, abstracted paintings of the 1910s to the decorative, sunlit interiors of his so-called “Nice period” of the 1920s to the radically innovative cut-outs of his last decade.
Though much of his work—whether an ink drawing with a flowing arabesque line or a painting with flat expanses of unmodulated color—looks as if it might have been executed with effortless ease, Matisse cautioned that this effect was only an “apparent simplicity.” In reality, he labored exactingly to achieve the “art of balance, of purity and serenity” of which he dreamed.
1.Dance (I) Paris, Boulevard des Invalides, early/1909
2.The Nightmare of the White Elephant (Le Cauchemar d l’éléphant blanc) from Jazz/1947
3.Forms (Formes) from Jazz/1947
4.The Swimmer in the Tank (La Nageuse dans l’aquarium) from Jazz/1947
5.Lagoon (Le Lagon) from Jazz/1947
6.Lagoon (Le Lagon) from Jazz/1947
7.The Swimming Pool, Maquette for ceramic (realized 1999 and 2005)
Nice-Cimiez, Hôtel Régina, late summer 1952
8.The Swimming Pool, Maquette for ceramic (realized 1999 and 2005)
Nice-Cimiez, Hôtel Régina, late summer 1952
9.Memory of Oceania Nice-Cimiez, Hôtel Régina, summer 1952-early1953
19年最后一个展去了马蒂斯出生的小城le Cateau-Cambrésis，不是第一次看马蒂斯，蓬皮杜里的，都灵私人博物馆里的。马蒂斯还是好的让人说不出话，就是看起来随意的几根线条告诉你什么是天赋，看的甚至想不起要拍照。以至于旁边同学不明所以的说：我觉着画框看起来比画还贵，气的我想在博物馆当场打人。博物馆不大，兜兜转转的看了一下午，出门一转身看到高高的教堂，悄悄有点想要流泪，为美的震撼。
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