馬蒂斯與畢加索同為20世紀現(xiàn)代藝術(shù)的巨擘，你可能更熟悉后者的名字，而對前者知之甚少，但以馬蒂斯為首的野獸派畫家卻引領(lǐng)了上世紀的繪畫大革命。馬蒂斯在現(xiàn)代藝術(shù)的領(lǐng)域探險，形成了形色簡約、愉悅和諧的野獸畫風。其作品中耀眼跳動的畫面、恣意而又明朗的畫風，營造出一個個野獸派的伊甸園。而這一切都源自于法國南部的一個小鎮(zhèn)帶給他的靈感。一起去聽聽其中的故事吧。

The first time I saw a picture by the French artist Henri Matisse， I was just a kid. It was one of his famous Blue Nudes， incredibly simple， just one colour with no detail at all， bit like a 1）primitive cave painting. But something about it fascinated me then， and still does. And since shops like IKEA began selling posters of it， it’s everywhere. In student flats， pizza houses， my local gym， and even my granny’s got one.

But Matisse didn’t always paint simple， bold pictures like his Blue Nude. He began his career as a really traditional painter. He started with 2）intricately crafted still lifes， then things got much more colourful， then a lot less detailed， and finally he gave up with detail altogether and went with pure shape and colour. In fact， he’s often called “The Master of Colour，” and some even say he created the way our modern world looks.

This is the small fishing town of Collioure on the Mediterranean coast in France. In fact， it’s so far south， it’s almost in Spain. Just look around. The first thing that really strikes you is the very brilliant quality of the light， and the strong， powerful， very saturated colours. Now these were things that Matisse was always searching for.

Matisse was 3）staggered by the intensity of what he saw and felt here. And the radical way he chose to capture it on canvas would horrify the art establishment.

Alistair Wright （Matisse Expert）： It’s around this time that he starts quoting an 4）aphorism， which was that a kilogram of green is greener than half a kilogram of green. What Matisse took that to mean is that if you want your colours to seem intense you have to use more of them. You can’t break them up into， into small areas. You have to put on a big slab of red if you want it to really sound as red in the painting. He started to use colours in ways that have ever been done before in the history of Western painting.

Matisse’s blocks of wild colour barely resembled the real world， and broke every established rule. Over centuries， the craft of painting had been refined. There were conventions of light， shadow， perspective and 5）imperceptible brushwork. But to capture his feelings about Collioure， Matisse decided to ignore all that.

The Matisse look is much imitated. And all sorts of products that you wouldn’t have thought of are now jumping on the Matisse bandwagon. This is an *Orla Kiely bag， clearly inspired by Matisse. Nowadays， you can buy Matisse 6）acrylic paints， wash your dyed hair with Matisse shampoo， before you put on your Matisse jumper and wrap yourself up in a Matisse scarf. Your dogs can chew on a rubber man called Henri in the shape of 7）Icarus. And your kids can cuddle their*Miffy rabbit. Now I bet you didn’t know this， but if it wasn’t for Matisse， sweet little Miffy here wouldn’t exist. She may not be the artist’s biggest gift to humankind， but， without her， I think the world would be a poorer place.

So Matisse is still very much in our world. He’s inspired countless painters， as well as fashion designers and interior designers. You can see his influence in commercial logos and kids’ cartoons. Vibrant colour， simple， expressive shapes， less clutter， less detail. More impact， more feeling. Matisse pioneered the look of the modern world.

我第一次看到法國畫家亨利·馬蒂斯創(chuàng)作的一幅畫時，還是個孩子。那幅畫是他著名的《藍色裸體》系列中的一幅，畫作簡單得不可思議，只有一種顏色，毫無細節(jié)，有點像遠古的洞穴壁畫，但是作品中的某種東西深深地吸引了我，以至于我現(xiàn)在仍然癡迷不已。由于像宜家這樣的家具店早已開始出售這幅作品的貼畫，這幅畫變得隨處可見：學生寢室、比薩店、我所在地的健身房，甚至我奶奶都有一幅。

但是馬蒂斯的畫并不是一直都像《藍色裸體》那樣簡約而又大膽。他在藝術(shù)生涯剛開始之時可是一個很傳統(tǒng)的畫家。他以畫一些復雜而精致的靜物畫起步，后來他的作品變得色彩紛呈，再后來，作品中少了許多細節(jié)，最終他完全放棄了所有細節(jié)，只用純粹的形狀和顏色。他更是常常被稱為“色彩大師”，有人甚至說正是他創(chuàng)造了我們當今世界的模樣。

這個位于法國地中海沿岸的小漁村叫科利烏爾。這里實際上非常靠南，已經(jīng)快到西班牙了。環(huán)顧一下四周，最吸引人的就是這里極其明媚的陽光，以及強烈、帶有沖擊力、且富有濃郁色彩的景色。這些是馬蒂斯一直都在追尋的美景。

馬蒂斯被自己在這里的所見所感深深震撼，而他隨后選擇在畫布上捕捉這自己所見所感的極端方式將會轟動美術(shù)界。

阿利斯泰爾·賴特（馬蒂斯研究專家）：正是在這一時期他開始推崇這樣一種說法：同樣是綠色，一公斤的綠色比半公斤的綠色顯得更綠。他想借此表達的意思是，如果想讓色彩顯得濃烈，就必須大量使用它，而不能小塊小塊地用色。如果你希望在作品中突出紅色，就得畫上一大片紅色。馬蒂斯由此創(chuàng)造出一種在西方繪畫史上從未使用過的著色方法。

馬蒂斯畫中粗獷的色塊與現(xiàn)實世界相距甚遠，他打破了所有已被確立的常規(guī)。在他之前的幾百年里，各種繪畫技法已經(jīng)非常完善，程式化的繪畫手法涵蓋了光、影、透視畫法，以及細微筆觸的使用。但為了準確表達自己在科利烏爾的感受，馬蒂斯決定把那些拋之腦后。

馬蒂斯的風格大量被人們模仿，各色人們難以想象的產(chǎn)品也搭上了順風車。這是一個奧蘭·凱利牌女式手提包，其設計很明顯受了馬蒂斯的啟發(fā)?，F(xiàn)如今，你能買到馬蒂斯牌丙烯顏料，用馬蒂斯牌洗發(fā)水洗染色后的頭發(fā)，再穿上馬蒂斯風格的毛衣，給自己圍上一條馬蒂斯風格的圍巾。連你的狗狗也能咬著這個名叫亨利，外形像伊卡洛斯的橡膠人玩具，你的孩子懷里還能抱著米菲兔。我敢打賭，有一事你并不清楚，那就是如果不是因為馬蒂斯，這些可愛的米菲兔就不會出現(xiàn)了。她也許還算不上是馬蒂斯留給人類最好的禮物，但是如果沒有她，我想這個世界會比現(xiàn)在更可憐。

馬蒂斯的確在我們的世界里無處不在。他的作品啟發(fā)了無數(shù)畫家、時裝設計師和家居裝飾師。我們可以在商標以及兒童卡通片里看到他的風格：鮮明的色彩，簡單卻極富表現(xiàn)力的形狀，盡可能地簡單，極少的細節(jié)，更強的沖擊力及更濃烈的感染力，馬蒂斯的這些風格特點打造了現(xiàn)代世界的模樣。翻譯：旭文

Miffy：米菲兔誕生于1955年，是世界上最著名的圖畫書作家之一——荷蘭畫家迪克·布魯納創(chuàng)作的經(jīng)典動畫人物。米菲畫像簡樸、親切，風格一致，易于記憶，深受全世界各地小朋友的喜愛。在作者的堅持下，米菲兔的造型始終維持她一貫樸實輕松的風格，從來不會因為節(jié)日或任何理由亂換衣服和首飾。這樣“超清新”的形象，也許正是米菲兔的人氣地位始終屹立不倒的原因。

Orla Kiely：奧蘭·凱利是英國知名的服裝品牌，創(chuàng)建于上世紀末，以清新典雅風格風靡時尚界。奧蘭·凱利原是英國著名的圖案設計師，她設計的壁紙、馬克杯都是經(jīng)典。奧蘭·凱利的設計風格是：復古感覺+現(xiàn)代元素+繽紛的顏色，如今，該品牌每年都推出兩套獨特的印花設計。這個品牌已經(jīng)從早期只有包包手袋產(chǎn)品線，擴展到今天既有旅行箱、家具、廚房衛(wèi)浴用品，又有女裝、配飾和文具系列。