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Matisse Portraits
Klein (art history, U. of Missouri, Columbia) surveys the history of Matisse's portraits and their sitters, with attention to the details of the financial transaction or other agreement that caused the painting to be made. An analysis of Matisse's self-portraits is also provided. Klein works chronologically, detailing the artist's developing style, but remains attached to his biography as well, with many quotes about Matisse or his works from contemporary sources. The oversize volume (10x11.75) is well illustrated with b&w and color plates. Annotation c. Book News, Inc., Portland, OR (booknews.com)
288 pages, Hardcover
First published October 11, 2001
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Displaying 1 - 2 of 2 reviews
June 30, 2020
This is a phenomenal book about Matisse and his portraiture. It’s a large hardcover book with gorgeous images throughout of Matisse’s works, some that are in museums and others in private collections. Klein’s writing style is most enjoyable and approachable; Matisse Portraits doesn’t read like traditional art exhibition catalogue or other academic writings about art which are mostly a bore and uninteresting.
I enjoyed how Klein introduces the book’s contents in the preface where he describes the concept of portraiture, historically and during Matisse’s time which is considered the ‘modern’ era. I’d never thought much about the difference between a ‘portrait’, the painting of a patron and a painting of a person, where the artist hires a model (common in the 19th and 20th century) or solicits a volunteer ‘sitter’ such as family member or friend. Klein makes the distinction within Matisse’s works—and discusses the implications. With his hired models and even his volunteer sitters, like his wife Amelie for instance, Matisse appears to take great license to experiment with his technique and approach, to unleash his expressiveness. Personal expression as Klein emphasizes, was the premise for Matisse’s paintings which is at odds with portraiture. There are built in assumptions with the concept of a portrait— that it’s representative of a person’s identity. Not so with painters like Matisse, which explains why we get paintings like The Green Line, 1905 (also known as Portrait of Madame Matisse), the painting of Matisse’s wife with a green stripe down the middle of her face. As Klein explores in his book, portraiture for Matisse was complex, yet his output was stupendous.
The book is divided into seven chapters, each delving into specific areas of Matisse portraits including self portraits, portraits of his family life, the use of models and, one chapter that I enjoyed most, ‘Negotiating Identity’. It explores the idea of ‘transactions’ within portraiture, the different ties between artist and patron and the expectations of both sides. It is thought provoking to consider the artist’s perspective of portraits, and to consider his or her philosophy of painting. In Matisse’s case painting was for self expression and about a decorative perspective through use of colour and pattern. Knowing his philosophy helps to understand and appreciate Matisse’s works that much more.
Overall it’s a beautiful book even to browse through to view the fine images of Matisse’s works. I was fortunate to be able to borrow it through my local library. I’d highly recommend it for Matisse fans.
I enjoyed how Klein introduces the book’s contents in the preface where he describes the concept of portraiture, historically and during Matisse’s time which is considered the ‘modern’ era. I’d never thought much about the difference between a ‘portrait’, the painting of a patron and a painting of a person, where the artist hires a model (common in the 19th and 20th century) or solicits a volunteer ‘sitter’ such as family member or friend. Klein makes the distinction within Matisse’s works—and discusses the implications. With his hired models and even his volunteer sitters, like his wife Amelie for instance, Matisse appears to take great license to experiment with his technique and approach, to unleash his expressiveness. Personal expression as Klein emphasizes, was the premise for Matisse’s paintings which is at odds with portraiture. There are built in assumptions with the concept of a portrait— that it’s representative of a person’s identity. Not so with painters like Matisse, which explains why we get paintings like The Green Line, 1905 (also known as Portrait of Madame Matisse), the painting of Matisse’s wife with a green stripe down the middle of her face. As Klein explores in his book, portraiture for Matisse was complex, yet his output was stupendous.
The book is divided into seven chapters, each delving into specific areas of Matisse portraits including self portraits, portraits of his family life, the use of models and, one chapter that I enjoyed most, ‘Negotiating Identity’. It explores the idea of ‘transactions’ within portraiture, the different ties between artist and patron and the expectations of both sides. It is thought provoking to consider the artist’s perspective of portraits, and to consider his or her philosophy of painting. In Matisse’s case painting was for self expression and about a decorative perspective through use of colour and pattern. Knowing his philosophy helps to understand and appreciate Matisse’s works that much more.
Overall it’s a beautiful book even to browse through to view the fine images of Matisse’s works. I was fortunate to be able to borrow it through my local library. I’d highly recommend it for Matisse fans.
July 21, 2019
Large book with color and B/W plates, lots of explanatory text.
Displaying 1 - 2 of 2 reviews