Smešten na brdu Cimiez (Simiez), u divnoj bašti, gde je umetnik povremeno živeo do svoje smrti (1954). Zbirka je nastala donacijama samog umetnika, njegove supruge i naslednika i obuhvata crteže, slike i skulpture.
"...kada sam shvatio da ću svakog jutra moći da vidim tu istu svetlost, nisam mogao da verujem koliko mi se sreća nasmešila... i odlučih da nikada više ne napustim Nicu, i eto, provedoh u njoj skoro čitav život." - Anri Matise.
Muzej, koji je ujedno bio i njegov dom, sadrži dragocenu i veoma zanimljivu zbirku Matisovih dela koja nas vodi kroz njegove različite umetničke periode i pokazuje evoluciju njegove umetnosti. Takođe intrigantna Nu bleu IV se može videti u ovom muzeju.
Ove godine Matisovoj postavci su se pridružila i dela Pikasa pod naslovom
MATISSE&PICASSO La Comedie du modele
Between dialogue and competitiveness, the relationship between Matisse and Picasso was the subject of permanent exchange. Stemming from the notion of the "comedy of the model" referred to by Aragon in Henri Matisse, a novel, The Musee Matissse seeks to re-examine what was probably one of the most successful examples of mutual artistic rivalry and inspiration in the twentieth century. Subtle but captivating resonances exist in the work of both artists, which should be examined in light of the relationship enjoyed between each painter and his model: one of the main driving forces of the reflection carried out by both artists on the question of the representation of the body and creative act. The "comedy of the model" is also a way to enter intimacy of the studio, right on the scene of the pose session.
The exhibition Matisse and Picasso, the comedy of the model, unfolds in four sections - TO PROJECT, TO TRANSFORM, TO COVET, TO POSSESS - each of which shows a different mode of the artist-model relationship.
EPILOGUE
The last great episode of the dialogue that spans more than half a century is the series of studios at La Californie. In these interiors, painted shortly after Matisse' s death in November 1954, Picasso addresses a final homage to his rival: armchair and familiar objects, open window, and luxuriant foliage are his last intrusion-appropriation, as though he inhabited Matisse's home, his painting, for one last time.
"...kada sam shvatio da ću svakog jutra moći da vidim tu istu svetlost, nisam mogao da verujem koliko mi se sreća nasmešila... i odlučih da nikada više ne napustim Nicu, i eto, provedoh u njoj skoro čitav život." - Anri Matise.
Muzej, koji je ujedno bio i njegov dom, sadrži dragocenu i veoma zanimljivu zbirku Matisovih dela koja nas vodi kroz njegove različite umetničke periode i pokazuje evoluciju njegove umetnosti. Takođe intrigantna Nu bleu IV se može videti u ovom muzeju.
Ove godine Matisovoj postavci su se pridružila i dela Pikasa pod naslovom
MATISSE&PICASSO La Comedie du modele
Between dialogue and competitiveness, the relationship between Matisse and Picasso was the subject of permanent exchange. Stemming from the notion of the "comedy of the model" referred to by Aragon in Henri Matisse, a novel, The Musee Matissse seeks to re-examine what was probably one of the most successful examples of mutual artistic rivalry and inspiration in the twentieth century. Subtle but captivating resonances exist in the work of both artists, which should be examined in light of the relationship enjoyed between each painter and his model: one of the main driving forces of the reflection carried out by both artists on the question of the representation of the body and creative act. The "comedy of the model" is also a way to enter intimacy of the studio, right on the scene of the pose session.
The exhibition Matisse and Picasso, the comedy of the model, unfolds in four sections - TO PROJECT, TO TRANSFORM, TO COVET, TO POSSESS - each of which shows a different mode of the artist-model relationship.
EPILOGUE
The last great episode of the dialogue that spans more than half a century is the series of studios at La Californie. In these interiors, painted shortly after Matisse' s death in November 1954, Picasso addresses a final homage to his rival: armchair and familiar objects, open window, and luxuriant foliage are his last intrusion-appropriation, as though he inhabited Matisse's home, his painting, for one last time.
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