Tate Modern (17th April 2014 – 7th September 2014)
Cut-outs can easily be considered a less-complex manner to
create art. Indeed, creating collage by cutting and arranging images or
patterns is something often attributed to childhood. But, like all art forms,
developing a skill requires patience, experimentation and a passion that
borders on obsession. Though cut-and-paste projects at primary school can be an
afternoon’s pleasure or an integral part of a group puzzle, Henri Matisse devoted
himself to cut-outs when restricted to a wheelchair in 1941. Gouache-painted
sheets of paper, subtlety coloured in specific tones, accentuating the diverse
range of colours were Matisse’s medium of choice in his final years.
The Tate Modern has showcased, and organised, an exhibition
that charts Matisse’s final years. His initial experiments with collage
(arranging and re-arranging simplistic bowls and fruit for a painted final piece)
through to his obsession with patterns, colour and natural forms. Akin to a majestic
performance, the exhibition saves his greatest act till last as, following his
blue nudes, are his enormous cut-outs and window-designs that dominate walls, filling
the final rooms.
Exiting through gift shop, the blue nudes are clearly the saleable
and popular art pieces on show. The various experiments consisting of an elongated
leg held by a crouching woman, composed of merely cobalt blue figures on a white
surface is simply perfect. In this exhibition, we see the evolution of a
version consisting of multiple papers, tweaked and layered to create the nude,
and then the same nude composed of only one, perfectly cut, single sheet. The
smooth, sharp slice of metallic scissors to cut out the arch of her back and
the length of her thigh is surely as satisfying as hearing the long, smooth
sound of a saxophone. Indeed, the playful, improvised and vibrant arrangements
became a book, titled ‘Jazz’. He illustrated, supported by notes, and though
unrelated to the music style, it remained an appropriate title.
Due to his sickness, his work becomes more abstract and
spiritually dominant as you work your way through. Though the shapes are
clearly integral to the images, he becomes more obsessed with colour in his
later pieces opposed to the figures, shells and leaves seen originally. There
is poetry to his contrast between curved and expressive shapes against the
sharper edges of squared frames and defined edges. The larger the scale, the
patterns become clearer and symmetry becomes an important way to balance the
composition - but colour is larger and over-powering. With this in mind, it
seems natural and purposeful that his work became more spiritual. The final
room, demonstrate how natural his cut-outs are when converted into
stained-glass. Christmas Lights
(1952) showcases a true combination of considered tones and arresting shapes. Your
eye looks up to the glorious light, demanding your attention in the centre of
an abstract arrangement of form and colour. There is no Christ in a manger, or
God touching the hand of Adam. It is proof that simplicity, such as the
innocence in a child’s art piece, hides the greatest beauty.
that is, effectively, a guilty pleasure.