![]() ![]() ![]() The struggle taking place on this canvas was all the more profound because the year before he painted it, Matisse had gone out on a limb to buy Cézanne's Three Bathers from Ambroise Vollard, then about to be the most significant dealer in Paris. I find its palpable doubt, its unresolved questions – particularly in the chaotic lower part of the picture – tremendously moving.įor Matisse, each painting of Notre-Dame was a reinvention no two of his responses resemble each other. It captures an artist finding his voice, taking steps away from the dominant language of Impressionism and into something even bolder and rawer, but not yet fully formed. The Tate's Notre-Dame, though, is from the middle of Matisse's first spell there. But when he returned in 1914 to a studio on the floor below, he was among the most famous artists in Paris, and amid one of the most radical and fertile periods of his career, producing his Goldfish and Palette and a sparse, diagrammatic view of Notre-Dame – both now in the Museum of Modern Art, New York – and the Studio, Quai St Michel in the Phillips Collection, Washington DC, among other masterpieces. ![]()
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