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MATISSE ODALISQUES by Bob Kessel
January 28th, 2010 by admin

Due to the recurrent incidence of nude women and intensely sensual interpretation many observers have assumed that as a man Matisse must have been a hedonist. On the contrary, historic examination demonstrates that in reality, he was rather a self-abnegating Northerner who lived only to work, and did so in chronic anguish, recurrent panic, and amid periodic breakdowns. While Picasso recompensed himself, as he went along, with gratifications of intellectual and erotic play Matisse did not. In an age of ideologies, Matisse dodged all ideas except perhaps one: that art is life by other means.

Matisse’s uninhibited celebration of women is often believed to have initiated from Cézanne’s painting Three Bathers (1882) (which he had acquired for himself along with a Van Gogh and a Gauguin). However, Matisse depicts women as nurturing, welcoming, and unlike the forbidding, massive clay-like presence of those of Paul Cezanne.

Matisse continued to evolve in unexpected directions even though never became an abstract painter (though some of his most adventurous works, such as the View of Notre Dame of 1914 or the Yellow Curtain of 1916 come close). His motifs were always recognizable, and the tension between the subject and the formal aspects of the painting was a central concept of his artistic ideal.

matisse-culottes-bob-kessel

ODALISQUE WITH CULOTTES by Bob Kessel
after Henri Matisse

matisse-odalisque-bob-kessel

STRIPED ODALISQUE  by Bob kessel
after Henri Matisse

odalisque-topless-bob-kessel

TOPLESS ODALISQUE  by Bob kessel
after Henri Matisse

odalisque-blue-bob-kessel

BLUE ODALISQUE by Bob Kessel
after Henri Matisse

odalisque-nap-bob-kessel

NAPPING ODALISQUE by Bob Kessel
after Henri Matisse

odalisque-seated-bob-kessel

SEATED ODALISQUE by Bob Kessel
after Henri Matisse


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