Maurice Denis


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Related to Maurice Denis: Edouard Vuillard

Denis, Maurice

(môrēs` dənē`), 1870–1943, French painter and writer on art. His paintings, usually on religious themes, have not proved so influential as his art theories. As the spokesman for symbolism and for the NabisNabis
[Heb.,=prophets], a group of artists in France active during the 1890s. Paul Sérusier and Maurice Denis were the principal theorists of the group. Outstanding members were Édouard Vuillard, Pierre Bonnard, Aristide Maillol, Félix Vallotton, and the
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, Denis proposed his famous definition of painting: "Remember that a picture, before being a battle horse, a nude, an anecdote or whatnot, is essentially a flat surface covered with colors assembled in a certain order." In 1919, Denis attempted to revive the teaching of religious art and cofounded the Studios of Sacred Art. His writings include Théories (2 vol.; 1920, 1922) and Histoire de l'art religieux (1939).

Denis, Maurice

 

Born Nov. 25, 1870, in Granville, Normandy; died Nov. 3, 1943, in St.-Germain-en-Laye, near Paris. French painter.

Denis studied in Paris at the Julian Academy and at the Ecole des Beaux-Arts. He was influenced by the work of P. Gauguin. Denis was one of the founders of the Nabis group (1890) and of the Studios of Sacred Art (1919) and was a leader of the “neotraditionalist” school in French painting. His art is representative of the symbolist and art nouveau style. It tends toward bold forms and decorative harmony and at the same time is permeated with a vague, vacillating, and at times religious-mystical feeling. It is characterized by flat stylization, the interplay of rounded and weakly defined contour lines, and light, somewhat excessively sweet colors. Denis painted religious and mythological subjects, portraits, and landscapes (The Artist’s Wife, 1893, Pushkin Museum of Fine Arts, Moscow; Martha and Mary, 1896; the 11-panel Story of Psyche, 1908-09, both in the Hermitage, Leningrad) and executed murals and designs for stained-glass windows and tapestries, as well as theater sets and book illustrations. As a theorist Denis affirmed the primacy of the decorative color principle in painting (Theories, 1912, and New Theories, 1921).

REFERENCE

Jamot, P. Maurice Denis. Paris, 1945.
References in periodicals archive ?
The exhibition wraps up with paintings of children: a "Mother and Child" by Maurice Denis sits next to a slightly creepy "Portrait of Rebecca Watson" by English portraitist Joshua Reynolds.
His enthusiasm for the rather pedestrian Maurice Denis, whom he also collected in depth, is more difficult to understand, at best, and becomes nearly impossible in the presence of the panels Denis executed for Morozov's music room in 1909.
At the beginning of his career, however, he was part of a group known as the Nabis (prophets), also including Maurice Denis and Eduard Vuillard, who painted small, low-key pictures using simplified flattened shapes influenced by Japanese prints.
Picasso, Matisse, Bonnard, and Maurice Denis, among many others, expressed their admiration for the master, and in particular for his "last manner," referring to his work at the turn of the century.
When my turn came, I asked if it wasn't possible that he had overlooked Maurice Denis as part of what I had read about as the Catholic Revival.
9 Bruce Nauman in the 1960s Maurice Denis Museo d'Arte Moderna e through Sept.
Professional colleagues and lifelong friends, Pierre Bonnard, Edouard Vuillard, Maurice Denis, and Ker Xavier Roussel were members of the Nabis for a decade.
Encapsulated in the final sequence is a poignant stage where Maurice Denis little Christ vert marks the conjunction, for a few years, between avant-garde theory and the artistic requirements of the Catholic church.