This paper analyzes the extent to which the artwork, by virtue of the painting technique used, has an impact on the reaction of its audience, and the artistic context in which it was created. Imagine a woman looking at someone. She is seated, with her face turned towards the audience. She seems peaceful, perhaps curious about the treatment she undergoes with calm and patience, but she seems determined. Is she conscious of the scandal of which she will be the origin? Her young husband is painting her, with ardor. The colors on the canvas are vibrant with greens, yellows and reds. This painting, which caused a scandal at the Salon of 1905, is indeed one of the most famous work of art of Henri Matisse and introduces us to the concept of Fauvism. We examine to what extent one can state that this artwork constitutes a rupture or a revolution.
[...] Matisse does not seem to agree with this restriction : painting, colors only have their power and their eloquence when they are employed at a pure state''4 They are barely mixed on the canvas. Those elements can explain why, in 1905, Matisse was said to be willing to shock his audience. He will be compared with Cubism, Kandinsky, or Marcel Duchamp with his wheel or his urinal. Objects can shock . but can color? Given the audience reaction, the answer is clear. [...]
[...] Even though the colors are not realistic, the anatomy is ''right'' (agrees with people's expectations). Only the shape is linked to reality. II The artwork's audience : a more than controversed piece of art tin of paint has been thrown to the face of the public Le Matin newspaper In 1905, Matisse exhibits at the Salon d'Automne Femme au chapeau, which causes a scandal. According to Gertrude Stein: ''Visitors bursted out when looking at the canvas, and some where trying to lacerate it''3. [...]
[...] Woman with the Hat is the foundation stone. In this context, painters will free themselves from the strict exigency of reproduction, which will have strong consequences. Artists are able to enlarge their interest to other phenomena, overcome the limits of the look to focus on other senses. Actually, abstraction may not have existed or at least not that rapidly without the invention of photography! Conclusion In 1904, after Matissse met Signac, who theorized the divisionnist method (neo-impressionist technique, explained in his book D'Eugène Delacroix au néoimpressionnisme), inaugurated by Seurat, the artist painted Luxe, calme et volupté. [...]
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