Comments on: Matisse’s Cut-Outs (3) http://abstractcritical.com/note/matisses-cut-outs-3/ Abstract Critical is a not-for profit company aiming to establish a new critical context for all generations of artists involved with ambitious abstract art. Sun, 09 Nov 2014 17:23:33 +0000 hourly 1 http://wordpress.org/?v=3.9.2 By: Patrick Jones http://abstractcritical.com/note/matisses-cut-outs-3/#comment-667425 Sat, 12 Jul 2014 15:01:55 +0000 http://abstractcritical.com/?post_type=note&p=8142#comment-667425 Having just had the chance to see the show at last,I found it a knock-out.All the images were familiar and the fact that an early experiment became a method of working became clear.For me it was the message that colour is the most important medium to master that made the show so visionary.Klee came to the same conclusion in his recent show at the Tate.The cabinet of colour swatches were especially illuminating.I was particularly moved by Celestial Jerusalem and the image of the bell/ clanger[ in negative and positive].Aside from being able to replicate Matisse hotel room in Nice,the show was a revelation and showed the Tate Modern at its best.Matisse deserved his reputation as the most important artist for Abstract Painters to follow ,just as Cezanne was for him.

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By: Tania http://abstractcritical.com/note/matisses-cut-outs-3/#comment-553519 Thu, 15 May 2014 10:55:47 +0000 http://abstractcritical.com/?post_type=note&p=8142#comment-553519 One of the (many) pleasures of the exhibition is the opportunity to read Matisse in his own hand. In the text accompanying the images for ‘Jazz’ the artist summarizes how art ‘works’ for him. From memory (and a bit roughly translated) he puts it something like this; that knowledge, sensitivity, spirit (l’esprit I think he wrote which is tricky to translate accurately) are concentrated in the hand of the artist and it is the hand of the artist (and, by implication, not the head) which enables the expression of our instinctive, human, nature. It is the haptic which allows us to communicate at the edge of, and beyond, language. Something akin to this is increasingly being recognized by science as observation and experiment demonstrate how it is the entire body which ‘learns’ calling into question the traditional view of splitting, and even opposing, ‘mind’ and ‘body’. We are sentient beings and Matisse’s cut-outs surely celebrate this.

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