I've always wanted to use an art museum as an object to visit and see paintings together. But I don't want to simplify as much as possible, don't understand it as soon as I hear it, I have to understand art history in three or five minutes.
Use specific works and specific dismantling to trigger some solid understanding. The work is based on people, and the artist's own temperament is the deep part of the work, which needs to be revealed by a lead. Throughout the history of human civilization, there have certainly been numerous movements and efforts that have been left out and buried in the dust, which also makes us understand that the fate of art is the same as the fate of man. I want to experience the deep emotions of reading art together. Let's touch the inner chain of artistic style evolution.
Then try to start a Pompidou series of "modern art". The first question is, what does the word "modern" mean in modern art?
Modern art must have been something that happened internally to turn the form upside down. "Modern art" in the early 20th century closed the door to 19th-century art, and at the same time foreshadowed what would happen to "contemporary art" in the depths.
The Centre Pompidou was chosen because it is one of the most important venues for the collection of modern European art, and the original intention of the museum was to show the origin and development of modern art. Its own architectural temperament is also distinctive, and Pompidou is the best and most convenient way to understand modern art.
This set will be updated steadily. I probably benefited the most from writing this series, and it required me to clarify some of the issues. Thank you to the friends who have not left for so long, 2024, and need those moments when something bigger is hit.
Matisse, Teenage girl in Romanian shirt, 1940
"Girl in a Romanian Shirt" is a masterpiece that is easy to notice when you go to Pompidou.
According to Pompidou, after the Second World War, the work was seen as a symbol by many artists, when many cultural figures came to the painting, gazed at it for a long time, and claimed to have inspired themselves.
If I had to pick out one of Matisse's many works to help us understand him and the art trends of the early 20th century, I would recommend this painting that Pompidou treasured. Matisse completed this important work in the forties of the last century, Girl in a Romanian Shirt, which is unforgettable: the silhouette is concise and clear, the composition is curved, the complete flat coating gives a soft and expansive three-dimensionality, and the colors are light and vibrant.
There is only one girl in the picture, her face and exposed skin are pale pink, echoing the plum tones of the background, and the decorative patterns are concentrated on the clothes, and the body is wrapped like clouds, making the maximum area of the whole painting white. A skirt with a blue-green transition underneath presses the red at the bottom, creating a space.
At a glance, the whole shape is concise to the state of being superb, the figures are outlined by black lines, and the lines have wide and narrow changes when viewed carefully, elegant, smooth, loose, reminiscent of Chinese calligraphy.
In the soft lines, the structure is clear, the colors and lines are consistent to form the rhythm of the picture, and the Romanian-style shirt is the protagonist, in fact, Matisse has painted many works with this kind of shirt before and after. After that, this shirt did not fade from the eyes of Western creators. This painting is the best way for us to understand Matisse's characteristics and creative direction.
Color is a distinctive feature of this work, and at the same time it raises the most critical question for us:
Is the most valuable part of Matisse the color?
Matisse painted a number of works mainly with Romanian shirts
Hou Mai's film "Pauline on the Beach", Matisse elements
A princess in a Romanian shirt and a tribute to Yves Saint Laurent
Unlike Duchamp, Matisse's influence has clearly and tangibly entered our modern life, his paintings are frequently copied, the public loves him even if they don't know him, and every home improvement designer likes to arrange a picture of Matisse on a fake wall.
In other words, he bridged the twentieth and twenty-first century public aesthetics, and this aesthetic is still relevant to contemporary life. Is it simply because he is recognized as a major player in modern art that he has endured so long and has such a wide audience? Matisse must have touched something about art.
But looking back at the beginning of the twentieth century, the situation is quite different. The most exaggerated example of this is the 1913 Armory Exhibition, an international exhibition of modern art in the United States, which is still a turning point and avant-garde exhibition of the century – if there is one event that is looking for a moment of awakening for American avant-garde art, it is this exhibition. At that year's Armory Art Exhibition, more than 200 works by more than 300 artists from the United States and other countries were exhibited. In addition to Duchamp-Matisse's Cubism, there are also works by Cézanne, Van Gogh, and Paul Gauguin.
In 1913, these European modern art greatly stimulated the American public. The New York Times asks directly: Are these innovations really a glimpse into the future, or is it rubbish? President Roosevelt then wrote in the press: "We cannot ignore the emerging forces of European art, but that does not mean that I fully accept the approach of these people: to import and exhibit the work of European extremist artists." ”
He used the word "extreme" to describe the budding modern art in Europe. Duchamp also became famous in that exhibition, "Nude Woman Descending the Stairs", which was caricatured by the American writer and journalist Streeter as "a big explosion in a brickyard". Look, the critics are always put behind.
Duchamp Descending the Stairs and His Nude Woman Descending the Stairs, No. 2
Even so, no European artist could match Matisse's "treatment", which irritated the students of the art school and provoked violence, in which he burned Matisse's portrait. Famous American artists and critics have called him the number one villain, saying that his colors and human body are "depraved, convulsive, vulgar, ugly, disgusting" and "fundamentally epilepsy". Later, during World War II, we heard again the description of the number one villain, from Hitler's painter Kokoska.
It's interesting to look back at these details. Similar situations are not uncommon in art history. The Armory Show sparked an unusually heated mood among the American public and art circles, because the vast majority of people simply did not accept it. Another consequence that can be seen is that the majority of the works sold in this exhibition are European artists, and the two main buyers are lawyers.
The controversy over the armory, like many literary and artistic controversies, is essentially a struggle for the right to speak. In the years that followed, it frustrated the American art world while continuing to excite some young artists, and the Armory Show gave them a first-hand look at what was going on in Europe, and then at itself: American art was stale and backward.
Matisse, still life on a red interior with a blue table
Meyer Shapiro, one of the most insightful American art historians of the 20th century, was a professor at Columbia University and is regarded as a legend in the field of art history. Shapiro analyzed the Armory Gallery exhibition, mentioning that it was not only a new entry into modern art, but also a key to understanding contemporary art in the future.
He said that the Armory Gallery exhibition has brought the public into a mode of challenge, whereby the public can establish their own new artistic tastes and choices, and can no longer submit to solemn judging standards, and the new challenge for the public is:
"Faced with an unfamiliar and difficult art, the public must think more than ever before."
The public's thinking about art, which in turn can affect the meaning of art, is a key to our understanding of modern art. Matisse's vilification and popularity in the United States is a microcosm of modernism's worldwide reach.
Born in 1869, Matisse lived to be 85 years old, and his artistic beginnings were not early, but his artistic career was long, and a combative artist lived a long life and could change many things.
Early in his career, he became known as the "Fauvists". In the early days, he was defined as a Fauvist, meaning that he had rough pictures and wild colors, like a "beast". In the middle period, it began to be clean and soft, and in the later years, it became more and more simple and sophisticated. To understand this period, it is essential to mention African carving and the influence of Cézanne. Take 1907's "Blue Nude" (not the later blue body cutouts) to see hints of a mix of the two styles:
A woman of wild strength lies naked on the soil, the upper and lower parts of the body are not seen in the same way, and the strong volume of this body is not only formed by the accumulation of blocks, the lines play a greater role here, and the brushstrokes are quite rough.
The figure's unconventional logic of perspective can be linked to Cézanne's practice of still life, where he grasped the abstract power of the objects he depicted and experimented with how to express them: "When the colors are rich to a certain extent, the form becomes formed." ”
African carving, on the other hand, provided Matisse with another avenue to show abstraction.
African sculpture is characterized by its flatness and symbolism, which is completely different from European sculpture before modernity, which emphasized three-dimensional and real musculoskeletal. African sculpture is not realistic, but comes from a primitive abstract impulse, reflecting how Africans summarize everything in the world in their ambiguous moments.
Cézanne, first reached a critical juncture since the beginning of nineteenth-century painting. At the beginning of the twentieth century, Matisse was arguably the first to respond beautifully to Cézanne's practice. For example, the experiment combined the original style with Cézanne to refine the form. Cézanne had inspired countless followers, but it also brought dangers that would have become a roadblock if nothing had been done about it.
It was 1907, and Matisse was 38 years old, turning from the law profession of his youth to painting. He painted "Woman in a Hat" two years ago, and it is with that one that several works became the source of the "Fauvism" we know today.
Matisse, Woman in a Hat, 1907
"Woman in a Hat" and "Blue Nude" can be viewed together, both use very bold and even "rather unsophisticated" colors at the time, these colors appear on the face and body of the figure, in the traditional color scheme, is not harmonious at all, the shape is still barbaric (not in line with the elegant and smooth aesthetic), and things are distinguished by rough brushwork and direct color.
In his book Matisse and Picasso, Jack Flaim cites the astonishment and affirmation of some of his contemporaries, who saw Woman in a Hat and the Blue Nude as turning points, and praised the moment: "Out of this recognized ugliness, a new and appalling beauty is being born." ”
What is this monstrous beauty? Let's stare at these two works that started the name of Fauvism.
The colors are used insanely, the outermost layer, floating on top of the image, even becoming some kind of mask, but the real soul of the character remains. Why do violent colors and lines still convey the human soul?
Matisse lived to be 85 years old, and his creative career was long enough compared to other artists, and his own exploration changed direction several times. However, he brought bright and vivid colors into his paintings, which untied the shackles that had long been stuck on the necks of painters.
European art has been relatively controlled and cautious in the use of color in the mainstream aesthetic for a long time. If you wander around the large museums and look at them, you will find that despite the different themes, details, and styles expressed, you will always intuitively feel that most of the paintings are a combination of brown and black.
If there is green in the picture, it is also a subtle dark green, so that it can be dignified enough to set off the brown robe or white gauze skirt, and the resolute look of the figure. Even the 18th-century court rococo style has a larger area of delicate pink, but the brown and black always have the finale.
In other words, too many bright colors are frivolous.
This is, of course, the result of aesthetic training in fine arts. At the beginning of the nineteenth century, Romanticism was also considered to be too bright and tasteless, and when everyone adapted to Romanticism, Impressionism brought a new view of color, not to mention the later Van Gogh and other people, Van Gogh once again increased the intensity of people's acceptance of color.
The original Matisse was also displeased, his use of color was not only strong, but also rude and rough, and he actually used black directly to outline the outline, these lines were thick and thin, and they did not look exquisite. This person also uses complementary colors a lot, and they are very infrequent complementary colors.
If we look at a 360-degree color wheel, on which is the entire transition of color from cold to warm, then at the two ends of 180 degrees, the corresponding colors are complementary to each other, such as purple and yellow complement each other. In the traditional art color aesthetic, complementary colors are rarely used as the main colors of the picture, while Matisse prefers to use complementary colors in large areas, such as green and red.
Matisse used complementary colors, and the next step was to create an image in such bright colors and intricate patterns.
When complex colors are placed on cool colors, relationships can be balanced and important points can be highlighted. Thus, the smaller blacks and whites were used by him to balance the other color relationships in order to accentuate the form. Matisse was very good at juggling the proportions of the colors and making them blend together in the contest.
Matisse studied some of the landscapes of Signac pointillism in his early years
Matisse painted very Siniac-style pointillism in his early days, Signac was a Neo-Impressionist, but he soon moved from the small, fragmentary colors of pointillism to the use of more intense, larger areas of color.
This logic of winning by color is evident in his work after he went to the south of France. In the south, especially in Nice, the sun is shining, the bright light, which makes everything elevated. Matisse liked the brightness so much that he made it the tone for himself to put things together on canvas.
Matisse should have a more relaxed and fluid value orientation within him, he studied the landscapes of the British painter Turner, imitated Signac's outdoor pointillism, constantly looking at the landscape, longing for a wide and calm world. Judging from the illness he experienced and the creative struggles, he certainly knows that the world is difficult and painful is always accompanied, but his creation shows his own heart.
Matisse, the open window
After "Woman with a Hat", he traveled in Algeria, Morocco, Spain, Tahiti and other places, and he continued to absorb primitive, pagan patterns into his creations, kneading and kneading, and he began to produce an oriental mood in the eyes of Westerners. Graceful and harmonious, once elegant and opulent, it continues the decorative character of the pagan style.
But for the creator, this is precisely the problem, mood is something that is easy to make, and it is also something that is easy to trap, and in addition to mood, there must be a new innovation for the interior of painting.
The bold combination of colors is of course the most striking aspect of Matisse's art, but unlike the outdoor realism that the Impressionists followed, his colors did not take into account the realistic color feeling, which was the opposite of the Impressionists.
Matisse's colors are more egoistic.
His work in the thirties in particular brought a sense of colourful imagination. The portrait is flattened, the background is simplified, the large area is flat, the colors are intense and rich, and the focus of the eye becomes a combination of different color blocks. Other interior scenes, rich in detail, often use windows or mirrors to create a picture within a picture, which, despite eliminating the depth of field of the space, creates a dazzling and visually pleasing picture.
None of these pictures are realistic, sketch-like reproduction of natural colors. Matisse's color is the color that comes from the heart. Color creates a psychological vortex, and standing in front of some of his works, you can feel them radiating and rotating in different ways, inviting the viewer to enter - conversely, is it he who liberated color, or has people been calling and expecting color in their bones for hundreds of years?
Expect colors to rise from all things, condense, deform, transcend reality, and expect brilliant and bright, imaginary happiness.
Matisse himself said, "It is impossible for me to reproduce nature in a slave way." I was compelled to interpret nature and subordinate it to the spirit of my picture. If all the tonal relationships I need are found, I have to produce from them an ensemble of vivid colors, a harmonious music. He goes on to explain, "[My choice of] color is not based on science (like in Neo-Impressionism). I used color without preconceived notions, and colors came to me completely instinctively. ”
Is it true that Matisse doesn't think about the science of color, though?
Matisse, works of all kinds
The proportions and shades of color, the harmony and separation of each other, cannot be left unconsidered and experimental. He humbled himself on his ability to abstract the real, an artist who internalizes the mystical part of things. The importance of color in Matisse's work is well understood, but let's go back to the original painting of Pompidou, where in Girl in a Romanian Shirt, there is something else that is hidden under color.
In the rhythm of color, in the rhythm, there is another Matisse.
Looking at his works around the twenties, although the picture is full of light, the fluffy brushstrokes and the treatment of the relationship between light and shade still have traces of the Parisian painters of that era learning from each other and influencing each other. Pushing forward, Matisse began to develop new qualities in the thirties. He also became very popular in the United States from the thirties, and was invited to create a huge mural, which shows his "sincerity" beyond color:
Lines. Or rather structure.
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In particular, he began to sketch the figures in a big way with soothing lines, refining the figures with soothing lines, dividing the space smoothly, and the colors flowing through the images and being led by the lines. The 1935 "Great Reclining Nude" is a clear result, in which the model is his new lover and assistant Lydia, and in this turning point, Matisse's penchant for line is fully on display as an important means of constructing objects.
Matisse, "The Great Reclining Nude"
The woman's body is spread out in a pale pink-orange hue and covers the frame, with the legs, head, and shoulders as the left and right edges of the picture, and the two arms as the upper and lower edges. "The Great Leaning Nude" is a horizontal composition, but the raised arms and legs form a vertical angle, which accurately echoes the horizontal and vertical checks underneath.
An abstract human form, in which curves and stripes play in harmony, Matisse expresses his love for the young Lydia, and this sensual pleasure, under Matisse's brush, slowly serene, the intense part is deliberately eliminated. Continuing the tone of the late twenties, there is a palpable sensuality and calmness in the picture. Matisse carried a propensity for harmonious emotional colors throughout his life.
Matisse's relationship with Lydia is also a family drama, and he also has a wife and a vigilant daughter who have been with him for many years, and for him, Lydia brings a passion for life, but has limited desires. In Matisse's usual calm and solid mode, the work took six months, and Matisse took 22 photographs to document the process. "The Big Leaning Nude" can be described as a successful experiment.
The large reclining nude and the Romanian shirt girl are of the same type, but these two works are obviously far from the style of Fauvism. Fauvism was a knife, his early direct way of breaking away from tradition, effective, powerful, and with a desire to fight his way out. But no ambitious artist is content to fight his way out, he wants to continue to push his creation. Judging from some of the materials he left behind, Matisse was plagued by a lack of inspiration before the thirties, and often failed to draw anything.
The long-term struggle of how to advance his creation, and the ability to use lines to control color, led Matisse to transfer his exploration of the core of painting to sculpture. The modeling method of sculpture has become one of the ways for him to solve the problem of painting.
Nowhere is this clearer is his series of four sculptures, first cast in plaster and then in bronze, in the collections of several major museums around the world.
Matisse, Back 1-4
The sculpture image is a woman's nude back, with the different creation time, from the true reproduction of nature, to the gradual simplification, the last back sculpture, has become quite simple, but the shape and volume are the strongest. The four sculptures span a long period of time, from 1909 to the thirties, and from the changes of these four sculptures, we can appreciate the wonder of Matisse.
This wonderful, as mentioned in the previous article, is the important value of creation outside of mood, and it really goes to the core.
Matisse did sculpture research in order to study and solve some painting problems from the perspective of modeling, such as, how does a human body stand to show the change of center of gravity, how can the solidity of the body be achieved, how to embody the structure after simplifying the complex, and so on. Matisse's new analysis of the form is shown in these four works, as well as in some of his other sculptures, including the reclining human body. When these findings are put back into the paintings, back on the flat portraits, the results are clear at a glance.
Back 1-4
Matisse's body sculptures and drawings
Looking along the timeline of these four sculptures, slowly walking through the forty years of an artist, I intuitively see that the works are the traces of a strong vibration of life, they are placed in time and space, large or small, waiting for a chance encounter with the latecomer, and the rest of the time is silence.
When you look at the summary of the last sculpture, you will suddenly realize that from that simple but volumetric image, the light overflows.
A modern light. At the beginning of his story about Matisse, he talked about the arrival of modern art gardens in Europe into the United States, which caused a commotion. Historically, every change in artistic style has been resisted, and this situation has been repeated repeatedly, which shows the public's lag in aesthetics, and also means that art must contain innovation in order to prolong its vitality. In modern art, the rejection of traditional art is all-encompassing, from the objects depicted, from the materials used, from the form, from the motivation of creation, all show its diversity.
Modernity is a conflict in itself.
Duchamp gave that response, Matisse gave such a response, and Kandinsky turned his back on the two men. This lack of categorization and the absence of uniform rules is the most exciting thing about modern art. Matisse's experimentation was the ability to give things (including color) to new abstractions, and to return to structure in the form of lines/contours, which became part of modernity.
Modernism in art is a process in which many artists set new rules separately, but just as Cézanne gave Matisse great inspiration and inspiration, Matisse also showed new possibilities to his contemporaries, the most important and powerful of which was, of course, Picasso. It seems that the two men are fundamentally different, with Matisse pursuing a lighter, upward-rising tone, and Picasso digging down, turning the soul and flesh of life out, but in essence, they are similar to artistic ambitions. Matisse's interest in Picasso and Cubism was largely due to the fact that Picasso, a genius who was more than a decade younger than him, often challenged him in a militant manner.
The two secretly competed with each other, and as a result, each received the new message, which was then transformed into their own canvases. Matisse and Picasso have been talked about for a long time, Matisse is occasionally criticized for being too lyrical and quiet, Picasso has also complained that he has nothing to do to travel, the pursuit of light everywhere, but on the other hand, some of Matisse's works reveal a new atmosphere, so that Picasso always pays attention to him, secretly learns his own creations. Matisse said, "Qualities will propel you down a certain path, and freedom is to obey that path." Matisse and Picasso were wary of each other, and went their separate ways with their own spirits. It was a feeling that two extremely keen and highly talented artists had been glanced at by fate, standing on the same path, and had been favored.
What we've been talking about all along, in fact, is finding out what parts of Matisse are of interest to the most talented and ambitious artists. Color is only part of Matisse's masterful use of the elements of painting, but what really strikes his peers is his insight into the language of modeling. From the "brutal" Fauvism to the end of his gouache and paper-cutting career, Matisse has always explored the modeling of painting throughout his life.
However, in the middle of a comprehensive understanding of Matisse, it is easy to ask whether the later Matisse was too light, fluid, and calm, and that Matisse was questioned for inheriting a decadent "odalisques" style, because of the large number of works he created in the twenties and thirties, which featured a large number of female nudes as models, and the "reclining human body" was part of it, including the exoticism carried by the paintings, which was similar to that of the 19th-century French Orientalist painters) have similar preferences.
Matisse reclining the human body at different times
In the 19th century, trade and French colonization triggered the imagination of European artists in the East. At that time, the East was for Europe, mainly in the Middle East, North Africa and now Turkey, and other places, and the completely different cultural and religious atmosphere caused some artists to develop the imagination of the so-called harem and court maids of the Oriental monarchs, among which French artists were the most explicit, and at the end of the 19th century, even established a "French Oriental Painters Association", which claimed to be aimed at promoting Orientalism and the travel of French artists in the Far East, mainly to talk about and enjoy exoticism, which was essentially as boring as many art associations.
The imagination of the Oriental harem, with its natural voyeuristic perspective and gaze at the female body, the beautiful women in the gorgeous harem, naked or half-naked, a cluster of flowers, warblers and swallows, are in general the erotic ideals of male painters (Delacroix was also fascinated by the violent themes of Oriental themes, such as his "Massacre of Theos").
1-4: Painters from Jerome, Delacroix, Ingres, William Hunt, and Orientalist styles
In the eyes of the post-colonialists in the 70s and 80s of the last century, the entire assumption and narrative of this kind of "Orientalism" is actually a society that has been "polluted" by the Western discourse of power theory, especially represented by Said's "Orientalism", which analyzes the West's stereotype of the East, and all the strange and primitive fantasies about the East as the "other", which are actually part of the construction and rationalization of imperialism. The critique of Orientalism in postcolonial theory is, of course, a perspective for observing and understanding the times, but be careful to take any theory as the only criterion.
In the Tate's interpretation of Matisse's "reclining human body", quoting from Matisse on Art, he mentions that in an interview with the French writer Jacques Genette in 1925, Matisse emphasized the subject's own primary sources and the inevitable technique in depicting the female nude, saying, "I paint court ladies to paint the nude." However, what does it mean to depict nudity without being pretentious? I paint them because I know they exist. I'm in Morocco, I've seen it. ”
The implication is that the human body is not imaginary, but perceived, which is different from the brain hi performed by the painters of the 19th century. The debate about Matisse's Orientalist identity can continue. However, I have come to the conclusion that what Matisse is good at grasping is the part of everything that radiates light.
Matisse remained childlike and curious about beauty all his life, and when he spoke of blue, he said that it was the kind of blue that he wanted to be eaten, and when he spoke of the fruit of the tree, he said that it was like a jewel that had been stapled. He felt that the beauty of the world mainly came from the sky and the sea, and he called these beauties "beautiful and luxurious light", so he used color to interpret light. The female body, on the one hand, is the concrete object of his perception of beauty, and on the other hand, the body is the channel of modeling, from which he constantly excavates and adjusts the rhythm until he pushes the shape to the extreme, and when we stare at the last "Back 4" in 1930, we will understand his ambition.
In this sculpture, the gender characteristics of the body are almost abolished, and the last thing that emerges is form, which is also the most important issue for him. With this breakthrough, he stood at the forefront of modern art in Europe.
In his later years, Matisse was unable to paint due to illness and weakness, so he chose to create paper-cutting, slowly bringing this childlike "handiwork" into play to the point of agility and simplicity, and began to approach the simplicity of the road discussed in Eastern philosophy. As an artist, he feels the beauty of the world again and again in his heart, and beauty itself is eternal, and people only live in it. No matter how long we live, there is always not enough time, not enough for us to watch, experience, and marvel at all this. Why did he maintain such a great passion for external beauty all his life? Matisse himself replied, because I could not bear it alone.
Matisse, ink and decoupage
In Matisse's work, imaginary and open spaces are very dynamic. This disparate energy in Matisse stimulated Picasso, who, on the contrary, instinctively stared deeply into man and the abyss of man. Perhaps it is this openness in Matisse's works that continues its own vitality, and is understood and liked by us today, which will also suggest a possibility: is abstract form more in line with the development trend of the times, or more cautiously, is our way of life and economic model chosen abstraction?
Think of the people at the turn of the century who first showed enough interest in Matisse's novelty (the emerging strata of capitalism). Consider how receptive we are to abstract forms and abstract art today. The popularity of an art form must be intrinsically connected to the dominant way of life. Matisse's abstraction is fundamentally different from the abstract art of the same period (abstract art is a separate content, which will be subdivided), and Matisse's induction of form is more suitable for comparison with cubism. Because juxtaposing things that are disparate but intrinsically related can make it easier to perceive and understand each other's characteristics. In terms of formal innovation, Cubism developed another way.
Matisse, Daisies
Winchin Gallery privately represents the original works of top international artists (if the client has other needs for the works of specific artists, we will use overseas art resources to find them for you):
Pablo Picasso, Andy Warhol, Vincent Gogh, Henri Matisse, F. Kahllo, G. Richter, Willem Adolf Bouguereau, Marc Chagall M. Chagall, Claude Monet C. Monet, Rembrandt Hammansson van Rij, Guercino Guercino, Mattia Preti Preti, U. Boccioni, Lucio Fontana L. Fontana, Francis Bacon F. Bacon, Jean-Michel Basquiat J.M. Basquiat, Rafael Sansi Raffaello, Canalretto A. Canaletto, Paolo Veronese, P.A. Renoir, P.A. Cézanne, R. Magritte, S. Dali, Amedeo Modigliani, H. Bosch, Francisco Goya F.Goya, P.Paul Rubens Rubens, Tintoretto, François Boucher F. Boucher, Anthony van Gram A. Van Dyck, Francisco de Subaurão F. Zurbaran, Yayoi Kusama, Kaws, Yoshitomo Nara, Zao Wou-Ki et al