Henri Matisse The Cut-Outs — Transformations Gallery

Matisse - The Circus, 1947

Matisse – The Circus, 1947

Matisse — Jazz

It is easy to be inspired by Matisse. Seeing Henri Matisse the Cut-Outs exhibit at MOMA, the exuberance of color, the freedom of forms — you want to be able to paint like that. The later rooms with the wall-sized works, and especially the photographs of how his studio was so full of this art as he created it — you want to live in rooms like that. I walked out of the exhibit wanting to play with color, to hold it in my hand and create pure forms with it as he did. Even if you don’t like Matisse, you have to be inspired by the absolute passion he had for creating art, so undeniable that it that led him to invent a new way to make art when he could no longer paint. MatisseCat_6g-fhd4--040727_agostinoartsChapter 10 of my book is titled “Matisse’s Cat”, in reference to the inspiration I draw from these struggles of great artists to find a way to satisfy that passion, and Matisse particularly because he spoke of the struggle, and left us evidence of his explorations and battles with line and form and color. I was writing about my own struggles to develop new cat face designs, particularly one based on a statue at the Bronx Zoo of a puma coming down a cliff, and in this iteration I had simplified the puma shape so much that it reminded me of a Matisse cut-out, and that encouraged me to loosen my hold on the realistic image and pursue it’s essence instead. This is the encouragement I take from Matisse: aim for the essential.

Matisse — Blue Dancer

We paint faces mostly with pure color. You might do blending in the sponge work, but then the imagery on top is usually solid colors with minimal shading — so the Cut-Outs relate directly. In adapting the Cut-Out figures to a face you have the additional playfulness of trying to fit his forms to the shapes of the face, which becomes an exercise in the fundamental skill of placing a flat image over the curves of the face. And I do mean “exercise” — I learn more about painting faces when I try to imitate the Cut-Outs.

Matisse - The Rumanian Blouse 1940

The Rumanian Blouse 1940

Matisse_RoumanianBlouse_artface_140920_agostinoartsMatisse’s painted portraits also adapt well, as he worked often with flat areas of pure color and precise linework. Strong colors and clean linework make for effective faces.

 

 

Face Gallery (Body Paintings below) ——————————————

at FABAIC 2011

at FABAIC 2011

Matisse-Icarus 2011

Matisse-Icarus 2011

Matisse-Icarus 2011

Matisse-Icarus 2011

Matisse Remix 2008

Matisse Remix 2008

Portrait of the Artist's Wife, 1912

Portrait of the Artist’s Wife, 1912

Red Fish 1911

Red Fish 1911

Matisse Remix 2008

Matisse Remix 2008

Matisse Remix 2008

Matisse Remix 2008

Matisse Inspired bodypainting by Raphealle Fieldhouse

Matisse Inspired bodypainting by Raphealle Fieldhouse

From African Abstraction to Modern Art — Huntington Arts Council Workshop

I’ll be presenting a workshop on the journey from masks to modern art  — #modernprimitive — for the Huntington Arts Council on October 2.  I am re-posting here the notice from the Long Island Arts Alliance that this workshop will be a signature series event of this October’s Arts Alive Festival:

Cultural Arts Workshops:
African Abstraction &
Modern Art Intertwined

PIFA-21

Wednesday, October 2, 2013 4:30 – 7:30 PM 

Huntington Arts Council 
213 Main Street
Huntington NY 11743  

Christopher Agostino – visual and performing artist is the author of Transformations! The Story Behind the Painted Faces and his work has appeared on TV and on magazine covers.  He will display examples of mask and makeup art traditions of different cultures in Africa.  The social function of masks and body arts will be examined and how these “primitive” arts influenced the revolutionary approach of Picasso, Matisse and the other early “modern” artists.  Participants will design a mask and observe Christopher’s face painting technique.    FREE for participating JOURNEY district teachers, $20 for general public and other teachers.

To register online: huntingtonartscouncil.org or email: artsined@huntingtonarts.org  or call (631) 271-8423 X14. Learn about the full line up of workshops at: Huntington Arts Council

This is an Arts Alive LI Classic Signature Series event.

– See more at Arts Alive LI: http://www.artsaliveli.org/cultural-arts-workshopsafrican-abstraction-modern-art-intertwined/#sthash.Kmv3BXRn.dpuf

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StoryFaces — Visual Arts and Mask Workshops

Follow-up a StoryFaces Assembly Program with Classroom Workshops

Christopher’s surprising performance allows him to introduce students to complex educational concepts in an entertaining way in follow-up workshops for grade levels 2 – 12. The unique combination of visual and language arts at the heart of StoryFaces exemplifies using multiple strategies to communicate your story and demonstrates the power of art to convey social information, to retain and synthesize traditional wisdom, and to inspire — making this an ideal vehicle for workshops developing communication, visual storytelling and critical thinking skills. A variety of programs are available including mask design workshops and interdisciplinary programs combining ELA, Visual Arts and Social Studies in which students write stories and apply critical thinking to synthesize these stories into visual mask designs. Programs include:

•  My Amazing StoryFace Workshop  – telling a story through words and art 

•  Designing Tribal Masks – using symbology to bring ideas to life

•  Create Your Personal Superhero – a motivational mask arts program

and two special programs for Middle and High School:

             •  From Masks to Modern Art – a fascinating art history program 

             •  World Theatre Makeup – for theatre, art and fashion students

Classroom programs can be custom designed  in consultation with art teachers to fit a school’s curriculum goals.

*** Professional development workshop programs also available for teachers ***

———  scroll down for full descriptions  ———

———-    Return to homepage: agostinoarts.com   ———-

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Workshop and Demonstration Programs include:

My Amazing StoryFace Workshop

This activity gives students their own experience in visual storytelling, as they create an original story starring themselves, first through a drawing exercise, and then as a written story meant to be told  — based on one of my original stories (see The Amazing Face Video). For the drawing, students use a special Drawing Form in which they draw a cartoon picture of themselves in the story — just like the image I create in my performance.    Grade Levels: In Elementary schools, grades 2 and up have been able to complete the StoryFace drawing and a simple written story in a single workshop session.  In Middle and High Schools the concept of placing a portrait of yourself into an illustrated story can continue into a visual art project by incorporating other media, digital art, animation, etc. Please see the MyAmazingStoryFace_TeachersGuide  for full information.

Designing Tribal Masks

This project gives students an experiential understanding of the traditional approach to art in tribal cultures as they apply critical thinking to create an animal mask design using symbols to signify the animal — in a way that even elementary students can understand. This “mask-concept” approach moves the design process away from realism and illustration, into an exploration of communicating through symbolic art and abstraction, and can be a vehicle for creating original mask designs for students with any level of art skills. Grade Levels: Grades 4 and up have been able to complete a pencil sketch design for a Tribal Animal Mask in a single session, this design can be the basis for a mask-making project in subsequent art classes. Please see TribalMaskProject_TeachersGuide  for full information.

Creating Your Personal Superhero — Spirit Healing Masks

This is a unique interdisciplinary workshop program I’ve developed to get students to work on using critical thinking to synthesize and communicate information visually, through signs and symbols, in reference to the traditional role in some cultures of Spirit Masks that allow performers in rituals to represent ancestors and other powerful healing spirits that protect the people — kind of like our superhero movies. For Grade Levels 6 and up: To start, I ask each student to identify some social concern they would like to help solve — it can be anything, from the obvious ones such as “ending war” to smaller scale concerns, such as “helping stray dogs”. Next they determine what “powers” they would need as a “healing spirit” to achieve this task, and I present this via the idiom of modern superheroes —i.e., would you need to be able to fly in order to end war all around the world?  The students then choose a color or graphic symbol to represent each of the powers or “attributes” their character has, and they design their Personal Superhero mask using those symbols — this step moves the design beyond an illustrative approach towards symbolism and abstraction, as the mask will communicate information purely through colors and graphics, giving students an experiential understanding of the thinking process that underlies visual arts, including modern art, and also allows any student to make a successful design regardless of their drawing skills. The process can also include a writing assignment —  for example, students can write essays to accompany their designs, in which they describe the social concern, or find media links to examples of this problem, and develop a storyline for how their Personal Superhero/Healing Spirit will solve the problem. Please see SpiritHealingMask_DesignForm

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From Masks to Modern Art — for Middle and High Schools

Picasso/Nuba — a synthesis of a Picasso cubist portrait and a traditional design of the Southeast Nuba of Sudan

Picasso/Nuba — a synthesis of a Picasso cubist portrait and a traditional design of the Southeast Nuba of Sudan

This is a unique and fascinating program giving students a vehicle for understanding the origins of Modern Art by exploring how artists such as Picasso, Matisse and Klee found inspiration in the masks, sculptures and bodyarts of cultures in Africa and Oceania as they sought to create more powerful art forms with greater social impact — what the art historians call “Primitivism in Modern Art”. After viewing African sculptures in the Trocadero Musuem, Paris in 1907, Picasso is reported to have said: “Men had made those masks and other objects for a sacred purpose…At that moment I realized that this is what painting was all about…it’s a form of magic…a way of seizing power…When I came to this realization, I knew I had found my way.”

Art changed at the beginning of the 20th century in large part because these early Modern Artists saw that in traditional cultures art was not confined to being beautiful or decorative, but rather that traditional art and artists played a vital role in maintaining the social fabric of the community — that art could have the power to communicate complex social and political ideas and help make a better world.

Christopher Agostino has also explored this seminal moment in art history through a dramatic series of fine art body paintings: Modern Primitive Art

 ———-    Return to homepage: agostinoarts.com   ———-

—————————————  ADDITIONAL WORKSHOPS:  ———————————————–

World Theatre Makeup — for Theatre, Art and Fashion Students

From the very beginning of human culture we have used makeup and masks to transform our appearance and create a new identity. As ancient ritual evolved into theatre, makeup remained as the way for an actor to present an identity beyond their normal self. It is especially evident in non-western theatre, such as the Chinese Opera or Japanese Kabuki in which fantastically painted faces transform performers into gods, demons, heroes and all kinds of creatures to bring myths to life. Today, traditional designs are a source for creating theatrical magic in productions like Julie Taymor’s Lion King (with makeup based on Maasai body art) and in the fantastic special effects makeup that brings aliens and superheroes to life in Hollywood movies. Christopher Agostino uses makeup and mask art from world cultures to present the story of this fundamental art from ancient origins to modern theatre in this fascinating performance/lecture illustrated by his amazing facepainting on audience volunteers.

The participants from a Transformational Makeup lecture at the U.S. Institute of Theatre Technology Conference (USITT) in Houston, 2008.

The participants from a Transformational Makeup lecture at the U.S. Institute of
Theatre Technology Conference (USITT) in Houston, 2008.

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Transformation Facepainting for Arts-In-Education Events

Our professional company of artists present facepainting in an educational context using styles based on World Masks, Tribal Faces, Native American Totem concepts or cultural traditions from regions around the world, such as Dia De Los Muertes or Amazon Indians. The same artists seen at the Bronx Zoo and Tri-State area events can facepaint students to create a uniquely memorable cultural experience that goes far beyond how much fun they will have. Events can be tied into assembly programs and to specific cultural regions or areas of Social Studies.

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Makeup Artists for School Theatrical Productions

Transformation Facepainting for a school production of the Lion King

Transformation Facepainting for a school production of the Lion King

Our artists are also available to paint the faces of student performers for theatre productions and other special events. Bringing in professional artists is a thrilling experience for a young actor and a great confidence boost that makes a school production extra special.

 

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Van Gogh Starry Night — Body Painting at FABAIC 2012 with Kryolan Aquacolors

painted on the final day of this year's Face and Body Art International Convention, Sunday, May 27 in Fort Lauderdale, Florida

 

painted with Kryolan Aquacolors

With the Sunday session open to the public it seemed right to do something really Pop while demonstrating Kryolan’s Aquacolors at their booth. Starry Night is so instantly recognizable that even folks unfamiliar with bodypainting would recognize it as “art” — and it is also very enjoyable (and inspiring) to spend a few hours learning from a masterpiece like this through imitation. I learn a lot while trying to copy a master, including a profound respect for just how brilliant Van Gogh’s vision was.

 

 

See my fine art bodypainting at  http://thestorybehindthefaces.com/body-painting/

To learn more about our programs and performances:  http://www.agostinoarts.com

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Face Painting — Fine Art Images: Learning from “Living Masterpieces”

 

Some of the faces I painted recently on a select group of students who acted as the hosts of their  school’s art show. They wore T-shirts that said “I Am A Living Masterpiece”.

              

 

 

 

Each face is an imitation of a specific painting, or a detail from a painting. It is always a remarkable learning experience for me to get to paint like this.

 

 

To learn more about our programs and performances:  http://www.agostinoarts.com

See my fine art bodypainting at  http://thestorybehindthefaces.com/body-painting/

 

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