Top & Bottom R: Detail of a self-portrait by Matisse drawn on a postcard (c.1915) Inverted and rotated. Bottom: Diagram of Velazquez's Las Meninas, detail. Dance II (top) depicts five nudes dancing in a circle on a grassy hill, a motif taken from Matisse's earlier canvas, Le Bonheur de vivre. Integrity is our only ideal... We are talking about how to learn and, perhaps, to learn to paint in lines anew, The State Hermitage Museum, Saint Petersburg, Mobile apps for galleries, museums and exhibition projects. Of course, the rhythm controls the brush of the artist. Bottom: Michelangelo, The Creation of Adam Sistine Chapel, Vatican. Matisse, though, could define his face by glasses and beard alone, the latter seen in the curved lines of her voluminous abdomen. The five figures joined together appear to be lost in dance. The final painting features a dark blue background that pushes the radiant red bodies to … Top L: Detail of Matisse's Dance II (1910) Click next thumbnail to continue, Top: Matisse, Dance II (1910) Oil on canvas. Open window in Collioure by Henri Matisse, Still Life with Eggplants by Henri Matisse, Luxury, peace and pleasure by Henri Matisse, Portrait de l’artiste Ge – Nikolay Yaroshenko, Vue de la ville idéale – Piero della Francesca, La main de Michel-Ange – Michelangelo Buonarroti, Kossa (Temps de souffrance) – Grigory Myasoedov.

Thanks.

The outstretched arms are like God and Adam's while she herself is almost horizontal like the flying figure who holds up Michelangelo's God and crew (center & bottom).


The figure's breasts become his glasses and thereby represent creative fertility while the contour of her rib-cage is the artist's nose, its nostril a line of shadow below. See Stephen J. Campbell, "'Fare una cosa morta parer viva': Michelangelo, Rosso, and the (un)divinity of art", The Art Bulletin 84, No. "The Dance I" was given to my former teacher, Mr Mills, who wanted his students with disabilities to be part of our homecoming dance celebration.

Note too how the two blue hills behind Adam (bottom) are repeated in the two green hills in The Dance (top). We are no different, you and I. When I saw the canvas put in place, it was detached from me and became part of the building.
Yet no-one seems to have noted the obvious: that Matisse lengthened the figure on the left in the final version (top) and took away her breast. The lovely moments were part of our unforgettable high school experience. Top L: Detail of Matisse's Dance II (1910)

We make it easy to collect and publish everything about art, manage collections, and buy, sell and promote artworks. ‘Nasturtiums with "The Dance" (II)’ was created in 1912 by Henri Matisse in Expressionism style. It explains, for instance, why on the surface the scene of Dance II is so mysterious and seems to mean so little; why the figure at left lost a breast and why the woman in the foreground has both odd-shaped hair and trips. Source-hunting, as it is known, is an essential tool for interpretation because, in visual art, a borrowed form borrows meaning. Description of the artwork «Dance (II)» In 1908, Russian collector Sergey Shchukin commissioned Henri Matisse three large panels to represent dance, music and swimming. The Dance II is part of The Dance series. Find out more about what data we collect and use at, Quick search helps finding an artist, picture, user or article and prompts your previous searches, Login to use Arthive functionality to the maximum, Register to use Arthive functionality to the maximum, This action is only available to registered users, In 1908, Russian collector Sergey Shchukin commissioned Henri Matisse three large panels to represent dance, music and swimming. The spectators were invited to witness the death of the old pictorial tradition, with its nymphs and shepherds, and to enjoy the spectacle of some unusual and devoid of clear outlines of the “gathering of shadows, as if mocking the whole pastoral tradition.”. Matisse had already based the 1906 portrait of his daughter Marguerite [see entry] on Velazquez's namesake Infanta Margarita in the Louvre (2) who is the star of his later Las Meninas.1 Velazquez shaped her coiffure like a paintbrush because brushes are hair-like and art both comes from and depicts the mind "underneath". This artwork has been added by Arthive user, if it violates copyright please tell us. Nasturtiums with 'The Dance' II by Matisse is, therefore, not framed, and will be sent to you rolled up and packaged in a strong and secure postal tube. Nice story, Christy! Given these components, my figures could only be of the color I gave them, trying to get a powerful light chord “.