- A beginner's guide to Fauvism
- Fauve Landscapes and City Views
- André Derain, The Dance
- Matisse, Luxe, calme et volupté
- Henri Matisse, Open Window, Collioure
- Matisse, Bonheur de Vivre
- Matisse, Dance I
- Matisse, The Red Studio
- Matisse, The Red Studio
- Matisse, Goldfish
- Matisse, "The Blue Window"
- Matisse, Piano Lesson
- Matisse, Piano Lesson
- Matisse, The illustrated book, “Jazz”
- Conserving Henri Matisse's "The Swimming Pool"
- Fauvism and Matisse
Matisse, Bonheur de Vivre
The Joy of Life
In 1906, Henri Matisse finished what is often considered his greatest Fauve painting, the Bonheur de Vivre, or the “Joy of Life." It is a large-scale painting depicting an Arcadian landscape filled with brilliantly colored forest, meadow, sea, and sky and populated by nude figures both at rest and in motion. As with the earlier Fauve canvases, color is responsive only to emotional expression and the formal needs of the canvas, not the realities of nature. The references are many, but in form and date, Bonheur de Vivre is closest to Cézanne’s last great image of bathers.
Matisse and his sources
Like Cézanne, Matisse constructs the landscape so that it functions as a stage. In both works trees are planted at the sides and in the far distance, and their upper boughs are spread apart like curtains, highlighting the figures lounging beneath. And like Cézanne, Matisse unifies the figures and the landscape. Cézanne does this by stiffening and tilting his trunk-like figures. In Matisse's work, the serpentine arabesques that define the contours of the women are heavily emphasized, and then reiterated in the curvilinear lines of the trees.
Matisse creates wildly sensual figures in Bonheur de Vivre, which show how he was clearly informed by Ingres’s odalisques and harem fantasies.
Additionally, Matisse references Titian. For like Titian's Bacchanal of the Andrians, the scene depicted in Bonheur de Vivre is an expression of pure pleasure. Here is a place full of life and love and free from want or fear. Instead of a contemporary scene in a park, on the banks of the Seine, or other recognizable places in nature, Matisse has returned to mythic paradise.
Radicalism, or how to color outside the lines
But do not be misled by his interest in myth—Matisse is not joining in with Bouguereau or any other Salon artist. This is the epitome of Fauvism, a radical new approach that incorporate purely expressive, bright, clear colors and wildly sensual forms. Matisse's painting s perhaps the first canvas to clearly understand Cézanne’s great formal challenge, and to actually further the elder master’s ideas. In fact, despite its languid poses, Bonheur de Vivre was regarded as the most radical painting of its day. Because of this, Matisse became known, briefly, as the most daring painter in Paris.
So what was daring about this canvas? Here is one key issue: unlike the paintings by Cézanne, Ingres, or Titian, Matisse's work does not depict forms that recede in the background and diminish in scale. If you study the figures in the foreground and the middle ground of Bonheur de Vivre, you will notice that their scale is badly skewed. The shift of scale between the player of the double flute (bottom center) and the smooching couple (bottom right) is plausible, if we take the musician to be a child, but what of the giants just behind them? Compared to the figures standing in the wings, who are obviously mature women (middle ground left), these center women are of enormous proportion. They are simply too big to make sense of within the traditional conventions of Western painting.
Perspective, patronage and Picasso
So why has Matisse done this? How could these shifts of scale make sense? Have we seen anything like this before? Well, in a sense we have. Cézanne's painting ruptured forms in order to accurately explore vision as experienced through time and space—in other words, forms look different depending on where we are in relation to them.
In fact, this exploration of vision through space is the key to understanding Matisse's work. By incorporating shifting perspectives, he brought this idea to a grand scale. Put simply, Matisse’s shifting scale is actually the result of our changing position vis-à-vis the figures. As a result of his experimentation with perspective, the viewer relates differently to the painting and is required to "enter" the scene. It is only from the varied perspectives within this landscape that the abrupt ruptures of scale make sense.
The painting was purchased by a wealthy expatriate American writer-poet named Gertrude Stein and her brother, Leo Stein, who shared a home filled with modern art at 27 Rue de Fleurus, in Paris. This was also the location for Gertrude Stein’s weekly salon. Here, Matisse, Apollinaire, the young and largely unknown Picasso and other members of the avant-garde came together to exchange ideas.
Stein was able to attract such a crowd not only because of her literary skills but because she often provided financial support to these nearly destitute artists. In fact, the Steins bought Matisse’s Bonheur de Vivre soon after its completion and hung it in their dining room for all to see. One person who saw it there was Picasso. By all accounts the painting’s fame was too much for the terribly competitive young Spaniard. He determined to out do Matisse, and he did with his 1907 canvas, Demoiselles d’Avignon (MoMA).
Picasso turned Matisse’s sensuality into violent pornography. Matisse in turn responds to the challenge of what was then called “primitivism” with his own brand of aggression in his Blue Nude.
Essay by Dr. Beth Harris and Dr. Steven Zucker
Want to join the conversation?
- Both Cézanne and Matisse construct the landscape of their artwork so that it functions as a stage. For example in Cézanne's "The Large Bathers" and Mattisse's "Joy of Life" the trees are planted to the sides of the paintings and are spread apart to represent stage curtains. Why do both artists seem to think this technique is important?(7 votes)
- I interpreted the use of framing or staging by Cézanne and Matisse as aiding the sense of privacy, which you are intruding on as the viewer coming upon an enclosed space where everyone is naked. I think it gives you more a sense of the voyeur, you are already a voyeur viewing a painting, but coming into what looks like a closed off space is even more intimate. It can be unsettling or exciting or both, I think that's what they were going for.(12 votes)
- I thought the French translation of "Joy of Life" is in fact Joie de vivre and not Bonheur de Vivre?(6 votes)
- Both of these names are correct in French for this painting - but you are correct in pointing out that "Joy of Life" litterraly translates as "Joie de vivre".(3 votes)
- I actually laughed at the thought that Picasso tried to outdo matisse and that his artwork focused on this violent pornography that is Les Demoiselles d’Avignon. What intrigued me more was Matisse's "rebat", The blue nude, which looked a lot like a male projecting with his muscular body and newly-acquired female parts. The roughness it portrays makes it almost comical. :)(4 votes)
- I just thought that like all men if being shown up thay have to do one better. It shows how childish people can be. and that each painting stands alone as a master piece.(4 votes)
- Why is he always painting the body of women naked?(3 votes)
- because a womans body is concidered as an art form and is a beautiful to behold.(3 votes)
- When looking at this painting I became a little obsessed with the image of the woman playing the double flute (called an aulos, I discovered). I did a little research (= became mildly obsessed for about two hours) and found that in Greek Mythology, Marsyus is the player of Athena's abandoned aulos, was known for his hubris - he actually challenged a god, Apollo. The contest between Apollo and Marsyus is thought to symbolise the struggle between Apollonian and Dionysian aspects of human nature. Apollo and Dionysus are sons of Zeus. Apollo represents reason and rationality and Dionysus represent irrationality and chaos. It makes sense that in this movement way from tradition that Matisse would reference Marsyua/Dionysus in this painting (if I am correct). Also, I read that the Apollo/Dionysus conflict was heavily referenced in Nietzsche's "The Birth of a Tragedy". And people have said that Bonheur de Vivre heavily references Nietzsche's ideas. So, firstly, I like that these paintings, in trying to figure out their influences are like miniature mysteries, even by just focusing on one part and my questions are:
1. What other parts of this painting do people think reference other parts of art and philosophy?
2. Does anyone know more about the effect of Nietzsche's ideas on art at the time?(3 votes)
- "Matisse creates wildly sensual figures in Bonheur de Vivre, which show how he was clearly informed by Ingres’s odalisques and harem fantasies."
Ι searched for Ingres's works and most of his paintings are portraits of dressed people. The only nude I found was the Odalisque. So why reference Ingres as a source of Matisse's inspiration when there are so many other painters who have produced more nude paintings?(2 votes)
- Why are some of the pictures look more cartoon, than the ones that look more realistic? Is it because of the time period?(1 vote)
- It always goes back to the artist interpretation. His drawing may not be 100% accurate of the subject that he is painting. Maybe he is painting her how he sees her in his eyes. And like the saying goes " beauty is in the eye of the beholder"(1 vote)
- how did you find this art(1 vote)
- The first time I found it was here on Khan Academy. After seeing your question I used Google and found a lot of this stuff.(1 vote)
- What was the concept behind Matisse's idea of painting to be "decorative"? what elements should a painting have to succeed in being (Matisse's)"decorative"?(1 vote)
- Is there any information about Matisse's painting :
Seated Woman, Back Turned to the Open Window?(1 vote)