Now that an exhibition at the Fondation Louis Vuitton is over, 200 artworks owned by the Russian state will be returned to the country.4.7.2022
這張的收藏史很可能是屬於"俄國傳奇藝術品收藏故事"。
"Corner of the Artist's Studio".(1912)
By Henri Matisse.French painter
Pushkin Museum of Fine Art/Mosco
By Henri Matisse.French painter
Pushkin Museum of Fine Art/Mosco
9. The Morozov Collection
Fondation Louis Vuitton, Paris, 13 October 2020 – 15 March 2021
In autumn the Fondation Louis Vuitton presents masterpieces from the collections of Mikhail and Ivan Morozov, Russian brothers and entrepreneurs who amassed a treasure trove of Impressionist and Post-Impressionist work before the Revolution: an astonishing assortment of Monets and Matisses, Pissarros and Picassos. They were more discriminating even than their contemporaries Sergei and Pyotr Shchukin, whose own horde of avant-garde wonders wowed the art world at the Fondation in 2016. KG
In autumn the Fondation Louis Vuitton presents masterpieces from the collections of Mikhail and Ivan Morozov, Russian brothers and entrepreneurs who amassed a treasure trove of Impressionist and Post-Impressionist work before the Revolution: an astonishing assortment of Monets and Matisses, Pissarros and Picassos. They were more discriminating even than their contemporaries Sergei and Pyotr Shchukin, whose own horde of avant-garde wonders wowed the art world at the Fondation in 2016. KG
【#Art and Design 國際週報】005：俄國傳奇藝術品收藏故事，以H. Matisse 作品為主： Collecting Matisse. Voyage into Myth. The Collections Of Sergei Shchukin And Ivan Morozov. Matisse and Russian Icons
1987年Henri Matisse (1869~1954)的兒子Pierre Matisse (1900~89)
和孫女，特地去聖彼得堡的"冬宮博物館 Hermitage Museum
"看父親/祖父為媽媽/嬤嬤的的畫像。
俄國傳奇藝術品收藏故事，以H. Matisse 作品為主： Collecting Matisse. Voyage into Myth. The Collections Of Sergei Shchukin And Ivan Morozov. Matisse and Russian Icons
讀Voyage into Myth (2002 )第四章
Sergei Shchukin and Ivan Morozov :Two Legendary Collectors
Voyage Into Myth: French Painting from Gauguin to Matisse from the Hermitage Museum 平裝 – 2002
Nathalie & Francine Lavoie (curators) Bondil (Author), Profusely illustrated (Illustrator)
***
查看該圖像"The Dessert: Harmony in Red" (The Red Room ) 1908 Matisse’s Fauvist period.🎨🇲🇫️ Oil on canvas 180,5x221 cm Hermitage Museum in St. Petersburg.🏛️️🇷🇺️ In his Paris studio with its windows looking out over a monastery garden, in 1908 Matisse created one of his most important works of the period 1908-1913: "The Red Room". The artist himself called this a "decorative panel" and it was intended for the dining room in the Moscow mansion of the famous Russian collector Sergey Shchukin. Matisse turned to a motif common in the works created that year: a room decorated with vases, fruits and flowers.
Collecting Matisse (English) Hardcover – 三月 17, 1999
Rizzoli (Author)
出版商：Flammarion； First Edition 版本 (1999年3月17日)
The wealthy Moscow merchants Sergei Shchukin and Ivan Morozov were responsible for bringing a remarkable group of impressionist and postimpressionist French paintings to Russia, among them an exemplary collection of the works of Henri Matisse.
Relying on his sensibility and self-confidence, Shchukin confronted a Russian society that ridiculed his eccentricities, and from 1908 to 1914 he assembled an exceptional collection of Matisse's works - thirty-seven paintings - with which he decorated his house in Moscow. Morozov was equally appreciative of the painter and, although a more modest collector, acquired eleven canvases. Between them, these two men made Russia the first foreign country to import Matisse's works.
Collecting Matisse provides a fresh interpretation of a crucial period in the artist's career - the early years of Fauvism, when he decisively turned toward color as the essential element of painting - and one that radically marked the development of modern art as a whole. Matisse's work was known in Russia as early as 1904, and Shchukin's commission for the great decorative panels La Danse and La Musique revolutionized the Moscow art world. A penetrating text and previously unpublished archival material make this book an essential study on Matisse and his 1911 visit to Russia, where he discovered with fascination Russian icons, tasted the delights of the salons, and unleashed the commentaries of a hostile press, which are included here in large extracts. The following year, Matisse left for Tangier and there produced a stunning series of canvases, which the two Russian collectors acquired with enthusiasm. The correspondence published here for the first time, bears eloquent testimony to the ties of friendship and admiration that united painter and collectors.
The beautiful illustrations and rare period photographs of the Shchukin and Morozov mansions and collections complement the impressions Matisse gathered in the Russian capital and demonstrate their importance for the evolution of his art.
Relying on his sensibility and self-confidence, Shchukin confronted a Russian society that ridiculed his eccentricities, and from 1908 to 1914 he assembled an exceptional collection of Matisse's works - thirty-seven paintings - with which he decorated his house in Moscow. Morozov was equally appreciative of the painter and, although a more modest collector, acquired eleven canvases. Between them, these two men made Russia the first foreign country to import Matisse's works.
Collecting Matisse provides a fresh interpretation of a crucial period in the artist's career - the early years of Fauvism, when he decisively turned toward color as the essential element of painting - and one that radically marked the development of modern art as a whole. Matisse's work was known in Russia as early as 1904, and Shchukin's commission for the great decorative panels La Danse and La Musique revolutionized the Moscow art world. A penetrating text and previously unpublished archival material make this book an essential study on Matisse and his 1911 visit to Russia, where he discovered with fascination Russian icons, tasted the delights of the salons, and unleashed the commentaries of a hostile press, which are included here in large extracts. The following year, Matisse left for Tangier and there produced a stunning series of canvases, which the two Russian collectors acquired with enthusiasm. The correspondence published here for the first time, bears eloquent testimony to the ties of friendship and admiration that united painter and collectors.
The beautiful illustrations and rare period photographs of the Shchukin and Morozov mansions and collections complement the impressions Matisse gathered in the Russian capital and demonstrate their importance for the evolution of his art.
***
Sergei Ivanovich Shchukin (Russian: Серге́й Ива́нович Щу́кин; 6 July [O.S. 24 June] 1854 – 10 January 1936) was a Russian businessman who became an art collector, mainly of French Impressionist and Post-Impressionist art.
Contents
The Morozov Brothers. Great Russian Collectors - Hermitage
The collections of modern art assembled by the Morozov brothers and Sergei Shchukin are among the finest in the world and are today housed in museums in
Two Russian art collectors stood out at the beginning of the 20th century: the cloth merchant Sergei Shchukin (1854–1936) and the textile manufacturer Ivan ...
Matisse arrived in Moscow on October 23, 1911. The next day, he visited the Tretyakov Gallery and asked to be shown their collection of Russian icons. Matisse was delighted by the icons and declared that to see them was more than worth the arduous trip. Matisse spent much of his time in Moscow frantically visiting monasteries, churches, convents, and collections of sacred images. Excited by what he saw, he shared it with all who came to interview him during his stay in Moscow. “They are really great art,” Matisse excitedly told an interviewer. “I am in love with their moving simplicity.… In these icons the soul of the artist who painted them opens out like a mystical flower. And from them we ought to learn how to understand art.”
Google 翻譯
icon ：聖相（像）；畫像；版畫；圖像：尤其指東方教會拜占庭禮天主教所供奉基督或聖人的平面畫像、版畫、聖像。禮儀用的聖像所描繪的是降生成人的基督，經由圖像，讓我們瞻仰主的榮耀；而聖母和其他聖人的聖像也表示基督在聖人身上受到光榮：使人轉化成天主的模樣、肖像。 Icon 又稱 ikon ，源自希臘文。參閱 idolatry 。
monastery ： (1) 隱修院；修道院：共誦日課、度團體奉獻生活的修院。 (2) 會院：專指與外界隔絕、遵守禁地規則的男女會院。
Church ： (1) 教會；教會團體；基督徒團體；教派；會眾：指耶穌建立的信仰團體（集會），亦即天主在世界上的家庭－教友透過洗禮而成為一家人，彼此形同手足。基督教會所有的要素，圓滿地保存在天主教中，而天主教的四個特徵是至一、至聖、至公、從宗徒傳下來的教會。 (2) 教堂；天主堂；禮拜堂（基）：為敬禮天主而專用的神聖房屋；指所有信徒都有權利到此參與（舉行）天主的敬禮；其次為聖堂 oratory （拉丁文為 oratorium ），專為某一團體敬禮天主之用；最後為私用小聖堂 private chapel （拉丁文為 sacellum privatum ），經教區教長許可，只為私人或家族之用（法典 1214-1229 ）。
convent ：會院：尤其指修女會院。
The Conversation was another picture painted before the trip to Moscow. Shchukin, writing to Matisse on August 22, 1912, said of this picture: "I often think of your blue painting (with two figures)... It reminds me of a Byzantine enamel, its colors are so rich and deep."[5] Matisse's first exposure to Byzantine art may have come through Signac. When the divisionist travelled to Venice and saw the Byzantine mosaics in San Marco, he decided to change his dots to squares. He brought back a number of postcards which he doubtless showed his disciple in St. Tropez. The impression of Byzantine mosaics seems to have stayed with Matisse. After his death, several photographs of the interior of Hagia Sophia were found pinned to the wall of his apartment in Nice.
Matisse arrived in Moscow on October 23, 1911. The next day, he visited Ilya Ostroukhov, painter and collector and "patron" of the Tretiakov Gallery, whom he had met in Paris, and asked to be shown his collection of Russian Icons. A day later Oustroukhov recounted the incident:
"Yesterday evening he visited us. And you should have seen his delight at the icons. Literally the whole evening he
wouldn't leave them alone, relishing and delighting in each one. And with what finesse! ... At length he declared that
for the icons alone it would have been worth his while coming from a city even further away than Paris, that the icons
were now nobler for him than Fra Beato... Today Shchukin phoned me to say that Matisse literally could not sleep
the whole night because of the acuity of his impression."[6]
"From that moment on, "writes Pierre Schneider, "Matisse spent all his time going around to visit churches, convents, and collections of sacred images, his excitement at the first encounter not having diminished one iota. He shared it with all who came to interview him during his stay in Moscow." [7]
On Oct. 31, Ilya Ostroukhov wrote to D.J. Tolstoy, the curator of the Hermitage Museum: "Matisse is here. He is deeply affected by the art of the icons. He seems overwhelmed and is spending his days with me frantically visiting monasteries, churches and private collections." [8]
"They are really great art," Matisse excitedly told an interviewer. "I am in love with their moving simplicity which, to me, is closer and dearer than Fra Angelico. In these icons the soul of the artist who painted them opens out like a mystical flower. And from them we ought to learn how to understand art." [9] What is one to make of this expression of heartfelt admiration for the old Russian icons? From these icons "we ought to learn how to understand art." This is a very strong statement. It sounds exaggerated. Yet, Matisse was habitually reserved and cautious in his statements, not prone to exaggeration. Our endeavor in these pages may be defined as an investigation of the meaning and validity of this assertion.
"From them we ought to learn how to understand art." Not one particular kind of art, but art in itself. The icons offered Matisse a revelation of what art is. This goes deeper than stylistic "influence." To speak of Matisse imitating or being influenced by icons is to miss the point. His relationship with them is on a deeper level. In them he has recognized, in an especially pure form, the essence of art. Art is, for Matisse, essentially a manifestation of the life in which both nature and the artist participate. Throughout his career Matisse was a truly original artist. This does not mean that one cannot find in his work what are commonly called "influences" of other artists, in this case the Russian iconographers. It means that Matisse's art is directly rooted in the place where art originates, in the wellspring of being which we mentioned at the beginning. Precisely because he strives to be true to nature, Matisse converges with the icon painters.
Matisse arrived in Moscow on October 23, 1911. The next day, he visited Ilya Ostroukhov, painter and collector and "patron" of the Tretiakov Gallery, whom he had met in Paris, and asked to be shown his collection of Russian Icons. A day later Oustroukhov recounted the incident:
"Yesterday evening he visited us. And you should have seen his delight at the icons. Literally the whole evening he
wouldn't leave them alone, relishing and delighting in each one. And with what finesse! ... At length he declared that
for the icons alone it would have been worth his while coming from a city even further away than Paris, that the icons
were now nobler for him than Fra Beato... Today Shchukin phoned me to say that Matisse literally could not sleep
the whole night because of the acuity of his impression."[6]
"From that moment on, "writes Pierre Schneider, "Matisse spent all his time going around to visit churches, convents, and collections of sacred images, his excitement at the first encounter not having diminished one iota. He shared it with all who came to interview him during his stay in Moscow." [7]
On Oct. 31, Ilya Ostroukhov wrote to D.J. Tolstoy, the curator of the Hermitage Museum: "Matisse is here. He is deeply affected by the art of the icons. He seems overwhelmed and is spending his days with me frantically visiting monasteries, churches and private collections." [8]
"They are really great art," Matisse excitedly told an interviewer. "I am in love with their moving simplicity which, to me, is closer and dearer than Fra Angelico. In these icons the soul of the artist who painted them opens out like a mystical flower. And from them we ought to learn how to understand art." [9] What is one to make of this expression of heartfelt admiration for the old Russian icons? From these icons "we ought to learn how to understand art." This is a very strong statement. It sounds exaggerated. Yet, Matisse was habitually reserved and cautious in his statements, not prone to exaggeration. Our endeavor in these pages may be defined as an investigation of the meaning and validity of this assertion.
"From them we ought to learn how to understand art." Not one particular kind of art, but art in itself. The icons offered Matisse a revelation of what art is. This goes deeper than stylistic "influence." To speak of Matisse imitating or being influenced by icons is to miss the point. His relationship with them is on a deeper level. In them he has recognized, in an especially pure form, the essence of art. Art is, for Matisse, essentially a manifestation of the life in which both nature and the artist participate. Throughout his career Matisse was a truly original artist. This does not mean that one cannot find in his work what are commonly called "influences" of other artists, in this case the Russian iconographers. It means that Matisse's art is directly rooted in the place where art originates, in the wellspring of being which we mentioned at the beginning. Precisely because he strives to be true to nature, Matisse converges with the icon painters.
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