"Would not it be best to leave room to mystery?"
Contextual Statement: Identify and summarise which theme you have chosen for the purposes of the audience reading your webpage.
The chosen artist addressed on this particular webpage is French painter, cutout enthusiast and “master of colour” (Essers, 1987, p.6) Henri Matisse. Many of Matisse’s early works depicted movement and body shape, as he stated that “what interests [me] most is neither still-life nor landscape: it is the human figure” (as cited in Spurling, 2005, p. 32). It was not until 1948 that Matisse began to work with colour and cutouts, which brought about a “temporary stop to his painting career” (Essers, 1987, p. 95). The development of Matisse’s life’s work grew “gradually and steadily” (Essers, 1987, p. 7) out of an “unparalleled” (Jacobs, 1970, p. 43) devotion to colour, light, space and harmony (Essers, 1987, p. 7). Matisse’s fascination with colour, cutouts and collage can be summed up in few of his quotes, advising inspiring artists to “seek the strongest colour effect possible” (as cited in Jacobs, 1970, p. 25) and stating that “cutting into colour reminds [me] of the sculptor’s direct carving” (as cited in Spurling, 2007, p. 90). He believed that “colours have their own distinctive beauty which you have to preserve” (Essers, 1987, p. 44).
Although Matisse stated that “all [my] efforts go into creating an art that can be understood by everyone” (as cited in Essers, 1987, p. 7), he was a firm believer in creating artworks which held a particular mystery – posing the question that “would not it be best to leave room to mystery?” (Spurling, 2007, p. 72). Many of Matisse’s works demonstrate this secrecy and vagueness, which can be reinforced by his statement that “when I put a green, it is not grass … when I put a blue, it is not the sky” (as cited in Jacobs, 1970, p. 34). Matisse argued that art does not necessarily need to be aesthetically pleasing, but can yield a deeper honest understanding – which can therefore provide “peace and tranquility” (Essers, 1987, p. 56) and symbolise “something like a good armchair which provides relaxation from physical fatigue” (Essers, 1987, p. 63). Matisse considered the fact that the attractiveness of an artwork comes primarily from the process used by the artist, as “a large part of the beauty of a picture arises from the struggle which an artist wages with his limited medium” (as cited in Spurling, 2005, p. 361).
There are several educational values and learning opportunities which can be introduced by educators in a classroom surrounding the historical, conceptual and theoretical aspects of Henri Matisse’s artwork. As stated previously, Matisse emphasised the importance of acknowledging the deeper understanding of an artwork rather than the visual itself. This theory can be implemented in a teaching environment as it will encourage students to look beyond the surface structure of an image and develop their artistic language whilst discussing the deeper makeup of theirs and others artwork. This key idea will also benefit all students, as well as those who perceive themselves not to be artistic. Taken directly from AusVELS (2013), Matisse’s ideas stated above will develop and carryout the objective that “students will identify and describe key features of arts works” (para. 3). Matisse is also known for his strong belief in the importance of the art process - not just the final result, stating that “composition, the aim of which is expression, alters itself according to the surface to be covered” (as cited in Essers, 1987, p. 77). This thought relates directly to the educational values and objectives addressed in the arts classroom, as it reinforces to students that it is not just about whose finished product looks the best, but the importance of the creation process and the development and improvement with the “use … of skills, techniques and processes … materials and equipment (AusVELS, 2013, para 2). The major influence in Matisse’s art pieces was colour; collage and cutouts, which he referred to as “an energy that seems to stem from witchcraft” (as cited in Essers, 1987, p. 67). He stated that a colourist makes his presence known even in a simple charcoal drawing – he was “possessed by colour” (Essers, 1987, p. 67). These statements above reinforce the effect of colour in works as a key component to students’ art - especially in the primary years.
- This statement will clearly identify your chosen theme and will include historical, conceptual, theoretical and practical information relating to it.
- This statement will address the educational value of your chosen theme in the form of a series of clearly defined objectives that are then addressed in your suite of learning opportunities.
The chosen artist addressed on this particular webpage is French painter, cutout enthusiast and “master of colour” (Essers, 1987, p.6) Henri Matisse. Many of Matisse’s early works depicted movement and body shape, as he stated that “what interests [me] most is neither still-life nor landscape: it is the human figure” (as cited in Spurling, 2005, p. 32). It was not until 1948 that Matisse began to work with colour and cutouts, which brought about a “temporary stop to his painting career” (Essers, 1987, p. 95). The development of Matisse’s life’s work grew “gradually and steadily” (Essers, 1987, p. 7) out of an “unparalleled” (Jacobs, 1970, p. 43) devotion to colour, light, space and harmony (Essers, 1987, p. 7). Matisse’s fascination with colour, cutouts and collage can be summed up in few of his quotes, advising inspiring artists to “seek the strongest colour effect possible” (as cited in Jacobs, 1970, p. 25) and stating that “cutting into colour reminds [me] of the sculptor’s direct carving” (as cited in Spurling, 2007, p. 90). He believed that “colours have their own distinctive beauty which you have to preserve” (Essers, 1987, p. 44).
Although Matisse stated that “all [my] efforts go into creating an art that can be understood by everyone” (as cited in Essers, 1987, p. 7), he was a firm believer in creating artworks which held a particular mystery – posing the question that “would not it be best to leave room to mystery?” (Spurling, 2007, p. 72). Many of Matisse’s works demonstrate this secrecy and vagueness, which can be reinforced by his statement that “when I put a green, it is not grass … when I put a blue, it is not the sky” (as cited in Jacobs, 1970, p. 34). Matisse argued that art does not necessarily need to be aesthetically pleasing, but can yield a deeper honest understanding – which can therefore provide “peace and tranquility” (Essers, 1987, p. 56) and symbolise “something like a good armchair which provides relaxation from physical fatigue” (Essers, 1987, p. 63). Matisse considered the fact that the attractiveness of an artwork comes primarily from the process used by the artist, as “a large part of the beauty of a picture arises from the struggle which an artist wages with his limited medium” (as cited in Spurling, 2005, p. 361).
There are several educational values and learning opportunities which can be introduced by educators in a classroom surrounding the historical, conceptual and theoretical aspects of Henri Matisse’s artwork. As stated previously, Matisse emphasised the importance of acknowledging the deeper understanding of an artwork rather than the visual itself. This theory can be implemented in a teaching environment as it will encourage students to look beyond the surface structure of an image and develop their artistic language whilst discussing the deeper makeup of theirs and others artwork. This key idea will also benefit all students, as well as those who perceive themselves not to be artistic. Taken directly from AusVELS (2013), Matisse’s ideas stated above will develop and carryout the objective that “students will identify and describe key features of arts works” (para. 3). Matisse is also known for his strong belief in the importance of the art process - not just the final result, stating that “composition, the aim of which is expression, alters itself according to the surface to be covered” (as cited in Essers, 1987, p. 77). This thought relates directly to the educational values and objectives addressed in the arts classroom, as it reinforces to students that it is not just about whose finished product looks the best, but the importance of the creation process and the development and improvement with the “use … of skills, techniques and processes … materials and equipment (AusVELS, 2013, para 2). The major influence in Matisse’s art pieces was colour; collage and cutouts, which he referred to as “an energy that seems to stem from witchcraft” (as cited in Essers, 1987, p. 67). He stated that a colourist makes his presence known even in a simple charcoal drawing – he was “possessed by colour” (Essers, 1987, p. 67). These statements above reinforce the effect of colour in works as a key component to students’ art - especially in the primary years.