#matisse — Public Fediverse posts

Potlood schets/tekening van een lid van een metalcore band. Ik ben bewonderaar van o.a Matisse en Chagall. Misschien is dat te zien.
#outsiderart #artbrut #matisse #chagall #potloodtekening

Woman before an Aquarium -- Henri Matisse -- 1921–23 -- Art Institute of Chicago -- Public domain

#Art #Matisse #FrenchArt #Painting #1920s #France

“The most beautiful experience we can have is the mysterious”*…

Eminent art critic and historian Hal Foster has started what will be a four-part series in The Paris Review on looking at– and seeing– art…

Many of us look at art in the company of others; I have done so with a close friend, off and on, for five decades. We meet at a museum, wander around, settle on a painting (or, rather, it settles on us), look, talk, look more, talk more. We attend to the work and to each other; we enter its world together. Only recently and rarely have we written up our reactions, which we do individually. A testament to our friendship, this writing is also a tribute to the art, to the discursivity that informs it and the sociability that it allows. 

Paintings call out to us in myriad ways. My friend and I are most drawn to pictures that are reflexive about looking, that anticipate it, that sharpen it, that alter our habits of seeing. This may be a Modernist criterion, but it hardly disqualifies older art; we have ranged as far back as Early Netherlandish painting. In this selection, though, I focus on pictures that date from the past hundred and fifty years. (For better or worse, that’s also my academic field.)  

My aim in this exercise isn’t to tease out context, which is almost too present in wall texts today. Immediacy may be a mirage, but I try to come to my chosen works as directly as possible. It’s not that I ignore the texts on the walls; I just don’t get stuck there. I don’t pretend to see with a “period eye,” as Michael Baxandall called the attempt to perceive as historical viewers may have. Contextual information may often be necessary, but I keep it at a useful minimum. And though I sometimes get speculative, that’s part of the fun. In fact, one purpose of these studies is to be loosened from my scholarly superego (which isn’t very strong, in any case). I want to demystify the viewing of art a little, not to deskill it exactly, but to suggest that anyone can do it. Ignorant Art History is a big tent.

Looking at a painting is a welcome respite from scanning a screen. In that sense, this exercise is reactive: I labor in the small cottage industry of attention that has sprouted up in the cracks of the massive complex of distraction all around us. A phenomenological turn often occurs at times of intensive mediation, but the point is not simply to have our perceptions mirrored back to us. T. J. Clark has put the aim nicely: “When I am in front of a picture the thing I most want is to enter the picture’s world: it is the possibility of doing so that makes pictures worth looking at for me.” To look at a painting is also to exit our world for a while, and then to return to it cast in a different—distant—light. The time travel is often wonderful, and almost free… 

– “The Ignorant Art Historian: An Introduction“

The first of his short essays, on the Matisse pictured above, just dropped…

… As we approach this painting, we have little idea of what it depicts, or whether it depicts anything at all. A washy blue covers the entire surface unevenly, and its space is traversed by several black vectors. A vertical line stretches the length of the canvas on the far right, where it intersects with two horizontal lines that cut across the center of the picture. In the lower half of the painting, three diagonal lines run roughly parallel to one another, also toward the right.

The main motif floats in the top third of the painting. Outlined heavily in black, its interior is made up of the same blue as elsewhere except for one white blotch and a few black planes, scratched to reveal the white underneath. Three thin, white planes also appear in the interior, each crossed with a horizontal black stripe; the central plane divides the space in two. 

All this is hard to sort out, and two more pieces on the right—a green blob beside a black one—only add to the puzzle. It is a complicated painting, but its complication is borne of simplicity. Completed in 1914, at the beginning of World War I, it is an austere work in an austere time. 

The title offers a kind of lifeline: View of Notre Dame. But what kind of view and from where? And what are all the black lines? Neither abstract nor representational, the painting requires a shift in our way of looking: its elements are less images of things than signs for them. 

We know that the Notre-Dame sits on the western end of the Île de la Cité in Paris. So the three diagonals might signify the quai along the Left Bank, the low path alongside the Seine, and the great river. The two horizontal lines then read as a bridge over the Seine, and the slight curve underneath them as its arched support. Finally, the long vertical line serves as the near edge of the quai, or perhaps of the very building from which the view is taken. The angles suggest that we look down on the scene from a Left Bank apartment several floors up. The overall blue signifies air and water where that seems appropriate, and anything else (or nothing at all) where it does not. 

How does the squarish motif convey the famous cathedral? If the bisected shape suggests the two great towers, the white plane between them might evoke the rose window. Since we view the cathedral from the Left Bank, it appears turned away from us slightly, its south side more exposed. If the black areas register the sides of the building in deep shadow, the white ones might signify the play of light across the facade. And the blobs in green and black? The green could be a plant, and the black its shadow. 

The pieces don’t add up completely or neatly. But then signification is about signaling-just-enough rather than representing-in-full. Here, seeing is guesswork. It often is elsewhere, too; we just don’t acknowledge it. Sometimes a sign doesn’t signify and sometimes it suggests more than one thing. The diagonals evoke both the quai and the river; the black areas convey a material thing here and an immaterial shadow there. 

Around this time, Matisse kept a studio above the quai Saint-Michel. Might View of Notre Dame double as a view of the interior from which it was painted? In that case, the Paris cathedral is also a French window, with blue sky and white clouds seen in or through the glass; the green shrub is also a plant on the sill; the lines of the bridge are also the molding in the room; and—who knows?—the diagonals of the bank are also the easel on which this very painting was produced… 

– “The Ignorant Art Historian: View of Notre Dame“

The remaining three installments will drop weekly into May.

* “The most beautiful experience we can have is the mysterious. It is the fundamental emotion that stands at the cradle of true art and true science.” – Albert Einstein

###

As we appreciate art, we might recall that on this date in 1808, at the outbreak of the Peninsular War, the people of Madrid rose up in rebellion against French occupation. 

In 1814, Francisco de Goya memorialized the event in his painting The Second of May 1808.

source

Sony lanza en México la serie ULT Power Sound

Sony presentó en México su nueva línea ULT Power Sound y colaboró con Matisse. Altavoces y colaboración musical

Por Deyanira Vázquez | Reportera                                        

Bajo el eslogan “Bajos potentes. Experiencia increíble”, Sony anunció la llegada a México de los nuevos integrantes de la serie ULT Power Sound: ULT TOWER 9, ULT TOWER 9AC, ULT FIELD 5 y ULT FIELD 3, diseñados para ofrecer una experiencia auditiva intensa. También incorporó el par de micrófonos inalámbricos ULT MIC1, compatibles con toda la línea.

El lanzamiento incluyó una colaboración especial con la agrupación mexicana Matisse, ganadora del Latin Grammy y con amplia proyección en Latinoamérica y Estados Unidos. El grupo subrayó que la música ha sido un lenguaje universal en sus vidas y celebró la posibilidad de reproducirla con tecnología de calidad.

En su mensaje, Matisse expresó que la nueva línea de Sony permitirá que el público disfrute del poder de la música, fomentando la unión de personas y trascendiendo fronteras. La agrupación aseguró que la campaña refuerza su conexión con sus seguidores. Por su parte, Hibi Kenichiro, presidente de Sony México y Sony Latinoamérica, indicó que los mexicanos sienten una profunda afinidad por la música, y que la alianza con Matisse busca potenciar la creatividad y el entretenimiento.

Tecnología y sonido envolvente

Los modelos ULT TOWER 9 y ULT TOWER 9AC ofrecieron bajos masivos y presión sonora capaz de transformar cualquier espacio en una sala de conciertos con sonido 360°. Incorporaron la tecnología X-Balanced woofer y el botón ULT para activar dos modos de bajos profundos e impactantes. Ambos dispositivos integraron cuatro tweeters y altavoces de rango medio para garantizar nitidez vocal y claridad general, además de iluminación 360° sincronizada, funciones de karaoke, entrada para guitarra y el sistema TV Sound Booster.

El ULT TOWER 9 se presentó como modelo inalámbrico con batería de hasta 25 horas, mientras que el ULT TOWER 9AC operó conectado a la corriente. Ambos incluyeron ruedas y manija para transporte y una carcasa resistente a salpicaduras. Mediante la aplicación Sony Sound Connect, los usuarios personalizaron luces y emparejaron altavoces para lograr un sonido estéreo o modo fiesta, configurando ambientes auditivos adaptados a distintos eventos.

Portabilidad y resistencia

En cuanto a los modelos portátiles, ULT FIELD 5 y ULT FIELD 3 ofrecieron bajos potentes y facilidad de transporte gracias a su correa desmontable. El ULT FIELD 5 añadió iluminación 360° y un altavoz X-Balanced para audio claro y potente. Ambos modelos contaron con certificaciones IP66 e IP67 que los hicieron resistentes a agua, polvo y golpes, adecuados para ambientes exteriores como playas o piscinas.

El ULT FIELD 5 alcanzó hasta 25 horas de batería y el ULT FIELD 3 llegó a 24 horas, ambos con carga rápida. La portabilidad y resistencia los posicionó como opciones versátiles para uso continuo. El diseño bidireccional del ULT FIELD 3 integró woofer y tweeter dedicados, así como radiadores pasivos laterales que optimizaron el rendimiento de los bajos.

Funciones inteligentes y conectividad

Toda la serie ULT Power Sound ofreció personalización de sonido y luces a través de la aplicación Sony Sound Connect, permitiendo sincronizar altavoces compatibles para amplificar la experiencia. Entre las funciones incluidas estuvieron Party Connect, que enlazó múltiples dispositivos para crear un entorno sonoro expandido, y Multipoint Connection para conectar dos dispositivos móviles de forma simultánea.

La compatibilidad con Bluetooth Fast Pair facilitó la vinculación rápida, mientras que el puerto USB permitió cargar otros equipos durante su uso. Estos elementos tecnológicos aseguraron que la serie ULT Power Sound respondiera a las necesidades de usuarios exigentes en calidad, potencia y versatilidad. –sn–

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#altavoces #altavocesInalámbricos #altavocesPortátiles #altavocesPotentes #audio #bajosPotentes #BluetoothFastPair #bocinas #Cdmx #Información #InformaciónMéxico #Matisse #México #Música #Morena #noticia #noticias #NoticiasMéxico #NoticiasSociedad #resistenciaIP67 #SN #Sociedad #SociedadNoticias #SociedadNoticiasCom #sociedadNoticias #SociedadNoticiasCom #sonido360 #Sony #SonyMéxico #tecnologíaDeSonido #ULTPowerSound

In Deutschland seit heute #gemeinfrei sind zB Werke von
- Frida #Kahlo
- Henri #Matisse
- MA #Nexø

Heute vor 155 Jahren wurde der französische Maler Henri Matisse geboren.

Henri Matisse ist ein Anagramm von
Mitesser-Hain

#Matisse #HenriMatisse #Geburtstagsanagramm #AnagrammTextperfekt #Anagramm #Anagramme #TeamAnagramm