著者

細田 七海

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.48, no.4, pp.37-47, 1998-03-31

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Decorative fabrics are a common element in the paintings of Matisse. One that appears repeatedly is a blue fabric previously known as "toile de Jouy" (a printed fabric made in France). Because it was later identified as an American-made print, I will hereafter refer to this fabric as the "Blue Print". This Blue Print appears in about eleven works of Matisse, but this paper will focus on Harmony in Red (1908). This painting contains a number of objects, including the Blue Print, which are inter-related. These relationships can be divided into three types : color, form and metaphor. This third type is the most interesting. For example, treating equally flower motifs in the Blue Print and the actual vase of flowers, it provides an evocative, multi-faceted vision. Compositions based on inter-relationships were characteristic of Matisse around 1910. The melange of inter-related images present the viewer with a dynamic vision, not merely of a flat surface or of a simulated three-dimentional space, but of an intangible space within the self. Using the Blue Print as a basis, this paper considers the process through which Matisse established this system of complex and fluid connections within Harmony in Red.