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Exposición 'Matisse: En busca de la verdad de la pintura" en el Metropolitan de Nueva York

Exposición 'Matisse: En busca de la verdad de la pintura" en el Metropolitan de Nueva York

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  • Un espectadro contempla 'Le luxe I' (El lujo I), otra de las obras que pueden verse en la muestra neoyorquina de Matisse.

    A man views "Le Luxe I", 1907 by Henri Matisse on display in the exhibition "Matisse: In Search of True Painting" November 26, 2012 at The Metropolitan Museum of Art in New York. The exhibition explores Matisse's painting process by showcasing 49 vibrantly colored canvases that demonstrate the artist's tendency to use his completed canvases as tools, repeating compositions in order to compare effects, gauge his progress, and, as he put it, "push further and deeper into true painting" opens to the public December 4. AFP PHOTO/Stan HONDA

  • 'Desnudo sentado' (1909), izquierda, y 'Desnudo con bufanda blanca' (1909), de Matisse

    "Seated Nude" 1909 (L) and "Nude with a White Scarf" 1909 (R) by Henri Matisse on display in the exhibition "Matisse: In Search of True Painting" November 26, 2012 at The Metropolitan Museum of Art in New York. The exhibition explores Matisse's painting process by showcasing 49 vibrantly colored canvases that demonstrate the artist's tendency to use his completed canvases as tools, repeating compositions in order to compare effects, gauge his progress, and, as he put it, "push further and deeper into true painting" opens to the public December 4. AFP PHOTO/Stan HONDA

  • 'Manzanas' (1916), izquierda, y 'Cuenco de manzanas en una mesa' (1916)., de Matisse.

    Visitors look at "Apples," 1916 (L) and "Bowl of Apples on a Table," 1916 (R) by Henri Matisse on display in the exhibition "Matisse: In Search of True Painting" on November 26, 2012 at The Metropolitan Museum of Art in New York. The exhibition, opens to the public December 4, explores Matisse's painting process by showcasing 49 vibrantly colored canvases that demonstrate the artist's tendency to use his completed canvases as tools, repeating compositions in order to compare effects, gauge his progress, and, as he put it, "push further and deeper into true painting." AFP PHOTO/Stan HONDA

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