The Large Bathers Analysis

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When viewing Matisse’s Bonhuer de Vivre or Joy of Life as it is best known and Picasso’s Les Demoiselles d’Avignon it is quite evident that these paintings were influenced by Paul Cezanne’s The Large Bathers. All three of these paintings capture an uncertainty and vagueness in their subject matter and what they are trying to convey.

Bonhuer de Vivre by Matisse, was one of the first paintings of its kind. He used such vivid and bright colors to exemplify his subjects along with the imbuing of spatial and visual aesthetics. Many say that this painting is idealistic and fantasy like because of the large landscape and the figures that are scattered amongst in the back and foreground. This painting has a close resemblance to Cezanne’s The Large Bathers in that they both utilize the landscape as the scenery for nude figures to engage and connect. Though these two paintings bear great similarities, there are also very evident variances between the two. The Large Bathers didn’t incorporate the use of color as Joy of Life did, in fact Cezanne painted with more solemn colors such as blues and coppers. The Large Bathers, was also more uniformed and compact in the use of its space. Matisse consciously used
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This painting exceeded the traditional nude form in that it displayed the figures in a more sexual and erotic way. There are a few similarities between Picasso’s Les Demoiselles d’Avignon and Cezanne’s The Large Bathers in that both paintings compress their figures into a tight space. Also, both paintings use toned down colors and not the intense and dramatic colors that were used by Matisse. These two paintings differ from one another in that Picasso’s figures are somewhat contorted and positioned in such a way that they are asymmetrical and graphic. Les Demoiselles d’Avignon was a true representation of Cubism in that the nude figures were geometric and out of

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