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You sure know Henri Matisse.
And you sure know Louisiana.
But it is not that Louisiana I think of.
In Denmark there is an art museum called Louisiana.
Louisiana Museum of Modern Art.
Chicago Cultural Center
Some years ago I was promoting my stuff in Chicago.
I visited the Chicago Cultural Center and talked to the director.
She was a size large wonderful African-American, age fifty I guess.
I remember she loved my Paris motifs.
I told her, that I was from Denmark.
Ohhhh Yeaaaah! Louisiana!
And she leaned back and entered a state of dreaming.
She told me that it was the best museum of modern art in Europe.
She told me about the interaction between the art museum and nature.
She told me about the great view from the museum, which is placed on the brink of the sound between Denmark and Sweden.
She told me about Louisiana's ability to show great art.
She told me about Louisiana's ability to show great artists.
She told me about Louisiana's ability to communicate this great art to the visitors.
An art museum that she surely wanted to see again.
And I visit Louisiana myself frequently.
For exactly the same reasons as my African-American friend.
Lousiana map and photos
You have to go there to experience the atmosphere.
Nature and art.
Art and nature.
But the photos might give you a hint of what my friend in Chicago meant.
See about the Louisiana Architecture and the Louisiana Collection at the Louisiana web site.
Matisse - a second lifeLouisiana and Muse? de Luxembourg in Paris have made a joined venture.
One day the Danish curator and Matisse expert Hanne Finsen asked the director of Louisiana for a cup of coffee.
Later the director offered Hanne Finsen numerous cups of coffee.
The director liked to know more about her idea.
The director is Poul Erik Tojner.
The idea
To make an exhibition based on a renewed correspondence, starting the spring 1941, between Matisse and his old friend, the knowledgeable bibliophile Andr? Rouveyre, whom he had seen only occasionally since their days at the prestigious ?cole des Beaux-Arts in Paris or as it is called today ?cole Nationale Superieure des Beaux-Arts.
The exhibition had to cover the rest of Henri Matisse's life, he died 3 November 1954 in Nice.
The letters reviles a profound friendship between Matisse and Rouveyre, who loved and admired Matisse.
Matisse for his part needed no other audience than Rouveyre.
From a visitors point of view it is interesting that the letters at the same time reviles Matisse's thoughts and inspiration behind each piece made in this period of time.
The exhibition
11 August 2005 I saw this exhibition.
You have to go there to experience the atmosphere.
Matisse and Louisiana.
Louisiana and Matisse.
But the photos might give you a hint of what I mean.
The light was nearly turned off.
Because of the paper cut-outs.
Works in paper cut-out technique fades.
You must never photo in an art museum.
You must never, never use flash.
Today, however, I had the permission to photo and use flash.
I did not believe it.
What a scoop.
To ensure that it was no mistake I flashed just in front of the director
and then in front of the curator....no conservators in sight....it obviously was OK!
And.
I have put all the Matisse paper cut-out flash photos into my treasure chest.
Take a look into my treasure chest above.
Because of the missing light I had to photo with a "scene" feature.
Most of the paper cut-outs and paintings were framed with glass.
That's why the photos are not front photos.
In order to clear my photos concerning intellectual rights with the ? Succession H. Matisse foundation I contacted Copy-Dan, who administers these matters in Denmark together with sister organisations in other countries.
Most of my photos have to stay in my treasure chest.
I might have bought intellectual rights for several thousand dollars - you have to wait and see my photos next time you visit me. I have bought rights to my atmosphere photos - they are shown above. I am alowed to show them for one year - please, help me remember to update this article in one year!!!
I can, however, show you the best of the official press photos.
WWAR Art News coverage
On 12 August 2005 WWAR Art News run the article "Matisse: A Second Life", which covers the story perfectly.
So.
I need not tell you about the details.
I need to tell you what this exhibition meant to me.
Thoughts
It's always a great pleasure for me to go to the Louisiana Museum of Modern Art.
Recently I saw Roy Liechtenstein, which I enjoyed very much.
And not so long ago I saw Warhol, which I did not enjoy. Not because of the exhibition itself,
but I feel I have seen all the works before. Usually I enjoy to se the originals of works I have seen in books, in papers etc.
But to me Warhol's works have lost their magic.
Warhol loved Warhol more than I do.
Then.
Yesterday I saw Matisse. An experience of a life time.
What struck me was his thoughts concerning to do things simple. To do things in bright colors.
It took him a lifetime to do it right.
Maybe he succeeded because of his high age, his second life was from age 82 to age 95.
Maybe he succeeded because of his attitude of life.
I have read that "The letters, which are typified by intimacy and irresistible humor, speak of both the events of everyday life and Matisse?s work and thus provide us with unique insight into the artist?s creative process and his thoughts on his life and work".
It's very good storytelling.
The more insight into an artist's creative process I have - the greater is my joy.
But.
I have to read the book "Matisse - a second life" - handwriting in French is not very easy to comprehend!!!!!
One thing more.
Paper-cut.
I myself use paper-cut very much, which I have not been very proud of. Real art is oil painting - I thought.
But seeing Matisse use paper-cut in his second life has encouraged med enormously.
Thank you Heni Matisse!!!!
Photos:
Map of Louisiana and small photos of Louisiana - from www.louisiana.dk, main page and the architecture - permission by Susanne Hartz, Louisiana.
Photo of the exhibition atmosphere - by Asbjorn Lonvig.
Photo of the book "Matisse - a second life" - by Asbjorn Lonvig
Matisse paper cut-outs, paintings, drawings, letters etc. ? Succession H. Matisse / CopyDan, 2005 - cleared with CopyDan.
Replies: 6 Comments on Monday, September 5th, Linda Lane said http://www.wonderlane.com/projectheart.html
Calling Designers and Artists
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Donate Art to Raise Funds for Hurricane Victims Relief at ProjectHeART@hotmail.com
Deadline Sept 16, 2005
Grab a pen, a pencil or your brush, and help the victims of Hurricane Katrina!
Charity is about money, if you are an artist pick up a pen and lend your talent.
Project HeART is asking artists from tattooists to painters to pick up a 4?x6? index card and give heART!
Design a realistic heart, paint a sacred heart, sketch a traditional heart- whatever your style may be, combine your amazing talent with that of other great artists to help the victims of Katrina who have lost everything.
We are gathering works of art into one large piece for a charity auction on eBay, with all profits going to Habitat for Humanity.
Don't have an index card? Or prefer working on another material? Any 4?x 6? paper will do! Your contribution is more appreciated than you will know!
Include your name, website, company, or other information you want attached to your work. Also send your email address to be made aware of the upcoming auction!
Spread the word and send your submissions by September 16, 2005 to:
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on Monday, September 5th, Asbjorn Lonvig said My unreserved apology to all American Blacks. Brad has been so kind to explain to me the difference between Afro-American and African-American. I have udpated the blog "Matisse and Louisiana...". on Tuesday, August 30th, jose said Asbjorn, as always, i enjoyed your blog very much. This one was particularly uplifting.
Gabriella, It was refreshing to read your response to this blog. You point out certain important aspects that I feel sometimes have been forgotten or set aside out of embarrassment. Art IS religion. The artist is striving to understand his place in this web of confusion that keeps him in a state of separateness and showing us through his work his attempts at making sense of it all and becoming ONE [regardless of whatever belief system he may embrace]. It is therefore not surprising that we sometimes experience this feeling of communion you mention when faced with a work of Art, especially if care has been taken to dignify it with adequate presentation.
on Monday, August 29th, Asbjorn said to RT,
Sorry for the mistake.
I do not know the difference between African-American and Afro-American.
Please explain?
Don't withhold any comments.... on Monday, August 29th, Hyacinthe Baron said Hi Asbjorn.
Thank you for taking the time to share. Yes, Art and Nature, Art and Human Nature, these are the important things to bear in mind in these times in relation to art processes and thoughts.
I lived in Gothenberg and travelled widely to other countries so I am aware of the wonderful views you have taken such pains to describe.
As to the cutouts...when they were shown at the Museum of Modern Art in NYC I recall they were not well received by the art critics who did not appreciate the childlike artistic regression of an old man in his cups as they say. The magic is in the name of course.
Similar thing occured with Wilhelm DeKooning when his agent and galleries tried to exhibit the works he produced after he contracted Alzeheimers. Everyone in the art world was so hoping the value both monetary and experiential would be worth a great deal. Art Critics had no appreciation for the new works and lamented the loss of such a great technique master. But then DeKooning always had a tendency for erratic behaviour, which fortunately for him paid off. I have written several short stories about my meetings with DeKooning and with Pollack and the drunkenness that led them to let go and produce their greatest works.
How all this relates to living artists today and what is the message really?
The kind of letting go you describe is scary...primitives tether celebrants for fear they will let go and be unable to be brought back...in the case of old revered artists that is no longer a problem...in the matter of young artists it can be a danger.
The road to madness is often disguised...artists need to distinguish and to discipline to reach maximum creative potential.
Admiration and reverence...yes, very much like religious experience. It pleases me that you have so much enjoyment.
on Monday, August 29th, Gabriella Morrison said Asbjorn;
Those are some great photos of the Museum Louisiana you have made, both interior and exterior. Viewing these photos made me think on an idea I have held that Galleries and Museums have become places that function today as did churches in the past. They hold images and objects which bear meaning and belief for us. The stories these images and beliefs contain and elucidate reveal to us what in our time we hold most important and sacred. The enlarged photos in the Luisiana, which appear to have shown Matisse in various settings seem to function much the same as illustrations of saints' lives in the poliptych panels that can be seen in European churches and Museums.The paper-cuts of Matisse had to have been fantastic to see, even in a necessarily lower light gallery space. I was fortunate to see some of the papercuts in 1966 in Paris and and they caused in me a reaction of freedom from care and the wanting to dance, move with a cadenced ease and of wanting to hold on to such idyllic feelings for the rest of my life. It was a communion of sorts, and this happened in an Art Museum. And of course the "sermon" was illustrated on the walls, in a spare, clean and hush interior. There is not much difference in my mind between what I experienced there from what an semi-literate townswoman may have experienced in the Scrovegni Chapel in the 15th Century, AD.
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