Triadic compositions tend to be very vivid, even if the colours are heavily shaded or desaturated, the clash of the 3 equidistant hues is very difficult to subdue. With that in mind, I thought it would be best to examine a piece that celebrates that vivid nature.
This is 'The Dessert: Harmony in Red' by Henri Matisse.
This particular work is a bit of a brain buster for me. We're trained to dissect images in a way as to ascertain what the aim of the artist was in the making of it. To find the focal points and understand how the artist made them so. Matisse's image defies me here in that regard. There is no clear focal point. We have a character, whom has a unique colour palette to the rest of the scene, but her flat hues identical to the world she inhabits makes her very much a part of the wallpaper than anything.
With no clear motive to be found just yet, I look at the colours themselves for help. We have our Triadic cohorts all in place, A dominant colour taking control of the image, just as theory suggests. Red has a complete stranglehold on the image, it's very hard to get away from. off to the left we find a sizable quadrant of green, which we know to be complementary to red. Then, finally, a much leaner strip of blue takes the top section of the left hand window. However, blue is apparently not contained to the 'outside world' of this scene, The wallpaper and tablecloth both have the same pattern, and use it in large amounts when all is added together.
It now dawns on me that although I have no focal point, nor much of any visual direction at all, That perhaps colour 'itself' could be the point of the work. it is apparent there is next to no tone, value or changes in saturation whatsoever. The entire image is a garish celebration of colour, and to a similar extent, pattern. The whole world of this image is built of hue, shape, and little else. The living character in the scene is nothing but shapes herself, and is as inconsequential to the world she exists in as one of the pieces of fruit on the table.
What is also interesting is the correlation between the two environments of the settings and their pattern based connotations. We see cool shades of green and blue outside, and hot reds and yellows inside. The patterns on the walls and tablecloth is inspired by natural forms, namely vines and leaves. the pattern shares its hue with the natural shades and colour temperature of the outside world, the subject matter it imitates. This is done despite the obvious clash of red and blue for an interior.
In the distance, out of the window, we can see another building, this one a slightly pinkish shade of red, again, the warm colours seem to reside in spaces of civilization or human habitation. The cool colours are colours of nature in this instance, and stay in their place.
This draws us to the common element between the two 'worlds'; The fruit.
The fruit is a bright yellow, attention grabbing even against the tide of red paint. We see fruit scattered on the table, apparently being placed there by the maid. But we also see fruit out of the window, scattered on the ground in a disorganized manner.
From this, we find that fruit is a connection between human beings, and nature. it is present in both environments.
The fruits bright yellow grabs attention in the scene, but not before everything else. The scene upon first viewing is a big multi colour slap in the face, hitting you with everything at once and not giving the chance to 'read' it clearly. This I feel was Matisse's intention.
The fruit connecting both worlds has another interesting link. Another entirely yellow form in the scene happens to be the window frame of the room.
It could be argued that a window also serves as a link or portal to that other world. The window allows mankind to see out and experience nature, whilst safe in their artificial environment. In the same way fruit connects them to its source, the window brings man back to the outside world.
I believe Matisse intends to send the audience on a journey when reading this piece, and rather than as modern works often do, simply ask you to follow the order of significance or connect the dots, Matisse wants the viewer to take in and inspect every element of the work before the answer is revealed to you.
I don't know if my answer is right, but I do 'have' an answer, now. Without value, tone, or saturation, I have been lead through an image and had the meaning made clear to me, and with pure hue alone, I find that truly masterful.
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