Page 13 - Studio International - July 1966
P. 13

pattern and vice versa. There are obvious   These paradoxes which prevent the      these extremes, and which is undoubtedly
            contradictions between drawn perspective   composition from being a purely decorative   one of his great masterpieces, is his Lady
            and the treatment of the painted areas—the   one stress Matisse's pursuit of the sort of   in blue (1937). That painting anticipates the
            naturalistic colour of flowers, for instance,   extreme and excess which make no   formalized solution of his Barnes mural—
            and the heightened colour of the figure.   allowance for modification. Someone     flat pattern of moving figures against dark
            His suppression of depth is stressed even   said once that it was as if Matisse had   diagonals fitting into painted architraves
            more radically in some of the still lifes of   invented a crossword puzzle and written   —and his paper collages, among the biggest
            the 1940's where in the middle of a       in all the answers, some of which were   single pictures he created, bold, simple,
            completely flat geometrized composition   deliberately wrong.                      and brilliantly coloured. In the Lady in
            Matisse places one object in full perspective.   A single painting which embodies some of                    continued on page 4

            Left 	                        Right
                                          Willem de Kooning
            Henri Matisse Lady in Blue 1937
             Oil on canvas 36 1/2 x 39 in.  	Woman and bicycle 1952-3
                                          Oil on canvas 76+ x 49 in.
                                          Whitney Museum of American Art,
                                          New York

             Dr Alfred Neumeyer,  professor emeritus at Mills   Anita Ventura  studied painting at Art Students   Norbert Lynton, head of the school ofart history at
             College, California, and visiting professor at the   League, New York, under Morris Kantor, and was for   Chelsea School of Art, is art critic of The Guardian,
             University of California, Berkeley, is author of a book   a time managing editor of Arts Magazine. She also   and contributes to Art International, Cimaise, Quad-
             on Cezanne's drawings, of The Search for Meaning in   worked at the Guggenheim Museum, and found time   rum, and other magazines. He is publishing a book
            Modern Art  (Prentice-Hall, 1964), Der Buick aus dem   to publish and edit an art journal, Scrap, in collabora-  entitled Survey of 19th and 20th Century Art later this
            Bilde (Gebr. Mann, Berlin, 1964), and other books.   tion with the sculptor Sidney Geist. Since leaving   year.
                                                      New York for San Francisco in 1962 she has contri-
             J. P. Hodin, the critic and London editor of Quadrum,   buted to Arts and other magazines, and now works at   George Savage,  a member of the council of the
             recently completed a biography of Oskar Kokoschka   the San Francisco Maritime Museum.   British Antique Dealers' Association, has written
            —Oscar Kokoschka, the Artist and his  Time—which is                                extensively on art and antiques.
            to be published this October.             Jean Clay, the French art critic, is a regular contri-
                                                      butor to  Réalités.
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