(upbeat piano music)
- [Man] We're on the 5th floor
of the Museum of Modern
Art in New York City
looking at Henri Matisse's
large canvas, The Red Studio.
- [Woman] There is a tradition of artists
in their studio shown working.
- [Man] That tradition goes
back to the 17th Century.
But this is interesting because Matisse
is not physically
represented in this room.
Instead, the entire room functions
almost like a self-portrait.
- [Woman] He may not be here,
but his surrogates are here.
His works of art --
- [Man] These are not invented paintings.
These are actual works of art.
In fact the museum has the plate that's
in the lower left on display
in the center of the gallery.
But Matisse is not being
faithful to these works.
He's changing them,
he's transforming them.
He's creating themes and
variations on his earlier work.
- [Woman] It's a difficult painting.
It is saturated in red.
It's not what we're expecting.
And yet, I keep thinking to myself,
how much more interesting this painting is
than if we were to approach
a naturalistic image
of an artist studio.
This seems much more impersonal
and much more philosophical.
- [Man] Virtually the
entire canvass is covered
with this deep red.
The only exceptions are his
art, the frames for his art,
light coming through the
curtains that have been closed,
the face of the clock, a
cutting of nasturtium leaves.
Besides that, the only
things that are not red
are the lines that define the forms.
- [Woman] Lines that define
the architecture of the space
and the furniture of the space.
There's no sense of the
naturalistic light coming
in through a window the way we might see
in an earlier painting by Matisse
or in an impressionist painting
of a domestic interior.
- [Man] There's almost no highlight.
There's certainly no shadow.
Everything has been simplified
and is structured by only color and line.
This is very particular.
Matisse did not paint white on top of red.
Instead, he painted red up to the borders
of the forms that he was defining.
So what we might take at first as white
is actually paint underneath the red.
- [Woman] And that has a particular name.
And that's called a reserve line.
- [Man] This has to do
with the impact of Matisse
looking at the earlier work of Cezanne
and the breaking of the
traditions of Renaissance painting
in the early 20th Century.
- [Woman] We think about
oil paint as being a kind
of layering of paint.
But here, it's an intentional
leaving absent of paint.
Which is something that we also
see in the work of Cezanne.
- [Man] He seems to be
consciously dismantling
the architecture of linear perspective.
- [Woman] Which is such a
crucial part of the tradition
of Western painting, creating
that illusion of space.
And artists since the
Renaissance have used a sense
of atmosphere and both of
those are missing here.
He's given us the floor for the most part.
But the line that would form the corner up
to the ceiling is intentionally missing,
reminding us of the
flatness of the canvass.
- [Man] The canvas itself
is indulging in this tension
between the pictorial space and
the physical two dimensional
surface of the canvas.
- [Woman] He's playing with it.
He flips back and forth like
the reserve line seeming
on top, but then being the
paint that's underneath.
Because if we look closely,
we do have some orthogonals on that table.
On the left corner we get
a bit of a sense of space.
And even the chair on the
right has some orthogonals,
although they don't really work spatially.
But then against all of those
vertical and horizontal lines,
we have these lovely curvilinear forms
of the nasturtiums and of that chair.
Other curvilinear forms
include the figures
in the paintings themselves;
the nude figure on the left
with that swirling drapery
around her, or the curving backs
of the figures in the upper right.
So one feels a sense of oppositions here.
- [Man] Matisse is not interested
in destroying space entirely.
But he is interested in
dismantling enough of it
to make the viewer
conscious of the choices
that he's making.
- [Woman] What really strikes me though,
are those drawing tools on the lower left,
because they're so close to us.
And they're tipped upward,
and two of them are out,
almost inviting us to
paint and draw ourselves.
- [Man] This painting is
not simply a rendering
of the artist's studio.
And it's clearly more than
a self-portrait defined
through an artist's
space and artist's work.
This is a painting that
functions as a discussion
of what it means to create
a canvass after hundreds
of years of Renaissance illusionism
in the early 20th Century
when artists like Picasso,
like Cezanne, have begun
to force us to rethink
the conventions of the past
and to invent an entirely
new visual vocabulary.
(upbeat piano music)
