Ives-Alain Bois on Matisse Term Paper Example | Topics and Well Written Essays - 1750 words

Ives-Alain Bois on Matisse - Term Paper Example The paper "Ives-Alain Bois on Matisse" analyzes Yves-Alain Bois essay On Matisse. Firstly, time’s density becomes to disappear as a singular unity within Matisse own pictorial system. Each from these paintings has its own dispersed time in its own world, he has its own understanding of temporality depicted, and each of beholders must be aware of their own time’s â€Å"persistence.† Similar to an ambivalent visibility of his works, time of his works disappear, constructing its temporality of a higher order, impersonal and spiritual – †¦like a â€Å"good armchair.† Then, composition itself must be treated as one of the most inevitable factors, with its Arabian abstract ornament, but circulating patterns. Matisse transferred its role to an invisible object of total presence, supported by his status quo understanding of means of art. However, second layer have to obtain depth and plural emotionality, with its completely non-imitating naturalism of spiritual order. My pictorial space was being completely eternalized. Avoiding a fixation of natural image in its faster passing by, Matisse’s art belongs not to â€Å"easel† painting, but to â€Å"memory† painting. Trying to achieve better and long-term fixations, artist focused himself on â€Å"pictorial fields of irresistible meanings,† which could be considered as being persuasive enough for both beholders and creator. Color and light will be presented in our focus a bit further; however, we should state that Matisse’s colors have a powerful compositional impact.... m fixations, artist focused himself on â€Å"pictorial fields of irresistible meanings,† which could be considered as being persuasive enough for both beholders and creator. Moreover, color and light will be presented in our focus a bit further; however, we should state that Matisse’s colors have a powerful compositional impact, created accordance or cordial of visual forms. Colors are pretended to be treated as the conditions in which visual code of lines can be perceived by the spectators, so colors as a container for both semantic parallels and compositional importance. Finally, circulation, expansion, and tension regarded by the author as visible functions in Matisse’s creativity. Factually, circulation may be understood as a compositional unity with that turnabout character of its movement; then, expansion marks a constant intention of the spatial expanding in Matisse’s early paintings, which used to be presented mainly without â€Å"holes;† te nsion is a â€Å"corporeal density,† which Matisse avoided lately, it can be understood through an imperative of sensitive expressions instead of peripheral incorporating of the beholder in terms of his late theories of art. Visual devices and strategies: producing effects Supposedly, being influenced by such optical strategies as those discussed previously, spectators can feel themselves â€Å"discharged† from not only singular forms of time and space, but from dictatorship of visibility itself, due to Matisse concerns on at least two-fold nature of each artistic gesture. Painting itself constructs an overall effect, being an instrument for the deconstruction, insisting not on its visibility, but rather non-visible order of eternal noumenas. His friends were used to discuss his works as sunlight imitations, colorful, pure