2009
Cairn
Françoise Delahaye, « De l'impressionnisme décoratif à l'expérience vécue. Max Raphael témoin privilégié. Remarques sur la particularité du « moment Matisse » », Études Germaniques, ID : 10670/1.vhewnm
The project of a « theory of art » is the great challenge open by Max Raphael since his significant publication of Von Monet zu Picasso (1913). Before this year, he contributes in many papers about « impresionnistic decorativism » and « expressionnism », it was the first to formulate in a very crucial moment of the classic modern painting. Here, with the « case Matisse », we try to investigate the leading motive of « absolute Gestaltung », as Raphael introduced it, against the simple optical lecture on the surface of the picture. In this historical sequence, between 1911 and 1917, Matisse obtain for Raphael a greatest objectivity, and find a freedom for the art of painting in contrast with the national request of the german Secession. From this point a view, Raphael appear to give an important testimony of the crisis born with the new « problem of form », due to Hildebrand.