Being in the corner anyway. It could even be said each element of the painting does experience perspectiv but is presented as if the artist were seeing only it. The chair is in two-point perspective, Fax Lists the table in one, the window also recesses to a vanishing point. They are juxtaposed, almost a collage of different views. A Deceptively Simple Painting Matisse Red Studio painting composition "The Red Studio" by Henri Matisse. Fax Lists Painted in 1911. Size: 71" x 7' 2" (approx. 180 x 220 cm). Oil on Canvas. In the collection of Moma, New York. Photo Fax Lists Liane Used with Permission I believe this is a painting with deceptively simple composition. It may seem that Matisse plonked things onto the canvas any old place, or that he painted.
The table first and then had to fill up the rest of the space with something. But Fax Lists look at the way the arrangement of the elements leads your eye around the painting. In the photo I’ve marked what are to Fax Lists me the strongest directional lines, pushing your eye up from the bottom and back from the edges, around and around to take in everything. Of course it’s possible to see this in other ways, such as up on the right, then across to the left. (Fax Lists Though the way you read a painting is influenced by the direction in which you read text.) Consider how he’s painted the various elements, which are reduced to outlines and which are given prominence. Notice that there are no shadows, but there is a reflected highlight on the glass.
Squint at the painting to see the areas of light tone more clearly, and how create a unity in the Fax Lists composition. You can't see it in the photo, but the outlines aren't painted on top of the red, but colors underneath the red showing through. (If you're working in watercolor, you'd need to mask out these areas, and with acrylics probablyFax Lists paint it on top given how fast they dry, but with oils you could scratch through to the lower color if that layer were dry.) Fax Lists "Not only did Matisse flood his pictorial space with a flat, monochromatic lake at full saturation, swamping the studio’s oblique angle; in addition he treated everything three-dimensional as nothing more than inscribed contours.