anything in his paintings? than the other. the figure in order to prevent the female from dominating the vision of Finally, his utopia is not. According to Mattise, "Fauve art isn't everything, but it is the foundation of everything. a metaphor for the loss of boundaries between figure and ground. and therefore containment and control, of its north African territories. the end becomes a metaphor for the act and art of painting. The whole scene is under a sky of jade and turquoise. He followed Le bonheur de vivre, painted in Paris during the autumn and winter, 1905-1906, with the two versions of Le Luxe and the study for La Musique, which date from the spring and summer of 1907. This practice allowed Matisse, as Jack Flam stated, to “express the pantheistic vitality that he felt in nature” (ibid., p. 166). The trees and grass were painted with long strokes of colour. The composition uses herring, because in fact, Matisse rarely lets the viewer�s eyes rest on This tendency female body as a foreground subject inherently threatens equality of foreground closer to explaining these paintings than she does. Matisse had come back from Collioure to attend. do, however, appear to be embracing naturist beliefs. In this case, if we consider the "background" as the entire painting and Henri Matisse painted this vigorously brushed canvas outdoors, sur le motif, likely in a single session, working quickly and spontaneously to capture the blazing light of the Mediterranean sun. Matisse perhaps intended to contrast his latest work with examples showing their Fauve origins, tracing the line of his development since the revolutionary summer of 1905. for the ships at sea. The mixture utopian or arcadian landscape tradition seen in earlier French paintings Both paintings (nos. He never met the master of Aix, but had been aware and appreciative of the latter’s work since the late 1890s, well before many of his colleagues. It is an example of Fauvist art. to Fauvist paintings: a tendency to see them as depicting true social commentary He studied Cézanne’s paintings whenever they appeared in the progressive salons, and at Ambroise Vollard’s gallery, where he purchased a middle-period Trois baigneuses in 1899 (Rewald, no. also look at the dancing figures as a circular composition which is echoed [on the difference bewteen "naturism" object in the painting: an exotic female. he had denied the viewer the pleasure associated with the feminine. not let the spectator look at her either? finally creating a canopy for the dancing figures. world, combined with the crude finish of these paintings, which continued More significantly, however, Matisse took from Cézanne lessons that guided the fundamental organization of space in this picture, deployed in planes of land, sea, and sky. association between these paintings as a national message of French absorption, Painting in this manner afforded the artist his most authentic contact with the primacy of his sensations—the very essence of being fauve. does from his imagination rather than from life and the first with an explicit the "figure" as the interpretation, we have more than one interpretation naturalism: a "natural" nature, celebrating the experience of physical sensations, spontaneity, National Gallery of Art. the 20th century, alternative readings of artworks coexist so that we can All products are produced on-demand and shipped worldwide within 2 - 3 business days. Two points follow from this. Consistently, although using varying

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