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Fire store samlere","date_start":"1999-01-22T00:00:00.000Z","date_end":"1999-05-24T00:00:00.000Z"},{"exhibition":"Matisse - en retrospektiv udstilling","date_start":"1970-10-10T00:00:00.000Z","date_end":"1970-11-29T00:00:00.000Z"}],"inscriptions":[{"content":"Henri-Matisse","type":"signature"}],"labels":[{"text":"This depiction of the artist’s wife, Amélie, is one of Matisse’s most famous paintings and a masterpiece within 20th century portraiture. Much of its strength resides in its simple geometric structure and in the way in which the colours are combined. Spatial modulation is pared back to a minimum. Effects of light and shadow, which would have added depth to the image, have been translated into planes of colour instead. The painting was presumably painted in the autumn of 1905, when Matisse had returned to Paris after spending a summer in the fishing village of Collioure. Here, he and André Derain engaged in ever-wilder painterly experiments intended to release colour from its descriptive function, allowing it to act as a force in its own right. With its unorthodox use of colour, the painting is built on those experiments.","type":"EXHIBITIONTEXT","source":"Dorthe Aagesen"},{"text":"Did Madame Matisse really look like that? With a green line crossing her face? Yes and no! With the advent of modernism artists began to reject the visual idiom, i.e. the organisation of the visible that had been a common code for communication since the Renaissance. The prevalent ideal concerning illusionism, a strong reality effect, was now chal lenged. Paintings were no longer to seem natural, i.e. to make sense by repeating the “syntax\" and the \"vocabulary\" that made rapid deciphering possible. We must still be able to recognise Madame Matisse. However, such recognition is now brought about by means other than the phantasms of realism. In a sense Matisse can be said to be working a little like Cranach did in his portrait of Luther (no. 3). He condenses the phenomenon (the model) to its fundamental structure, thereby creating an icon - with a green stripe that we eventually accept as meaningful.","type":"CATALOGUETEXT","source":"Hanne Kolind Poulsen","date":"2019-11-07T00:00:00.000Z"},{"text":"A stripe of provocative green cuts right down through Madame Matisse's concerned face, dividing it into two coloured halves. As a colour composition the painting is both daring and successful. There is balance and unity here, so we can shift effortlessly between observing the person and simply enjoying the triumphant, ornamental pyrotechnics of the com position as a whole. Observers of a feminist bent will describe Matisse's use of colour as having been created to please the omnipotent floating eye that watches and assesses everything from a distance. Matisse is perfectly happy to subordinate the individual, turning it into an ornament or decoration. This artwork and its title is an excellent example of how concern for the individual could be negotiated in favour of an interest in masculine mastery by means of aesthetics.","type":"CATALOGUETEXT","source":"Henrik Holm & Louise Wolthers"}],"materials":["canvas"],"object_names":[{"name":"Painting"}],"production":[{"creator":"Matisse, Henri","creator_forename":"Henri","creator_surname":"Matisse","creator_date_of_birth":"1869-01-01T00:00:00.000Z","creator_date_of_death":"1954-01-01T00:00:00.000Z","creator_nationality":"French","creator_gender":"MALE","creator_lref":"897_person"}],"production_date":[{"start":"1905-01-01T00:00:00.000Z","end":"1905-12-31T00:00:00.000Z","period":"1905"}],"techniques":["Oil on canvas"],"titles":[{"title":"Portrait of Madame Matisse. 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