Window paint markers are widely available from craft stores and online. Here are some of our favourite sets to help you get started…
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Main content
Modernisms 1900-1980
Lesson 1: Fauvism and Matisse
A beginner’s guide to Fauvism
Fauve Landscapes and City Views
André Derain, The Dance
Matisse, Luxe, calme et volupté
Henri Matisse, Open Window, Collioure
Matisse, Bonheur de Vivre
Matisse, Dance I
Matisse, The Red Studio
Matisse, The Red Studio
Matisse, Goldfish
Matisse, “The Blue Window”
Matisse, Piano Lesson
Matisse, Piano Lesson
Matisse, The illustrated book, “Jazz”
Conserving Henri Matisse’s “The Swimming Pool”
Fauvism and Matisse
© 2023 Khan Academy
By Dr. Charles Cramer and Dr. Kim Grant
Henri Matisse, Open Window, Collioure, 1905, oil on canvas, 55.3 x 46 cm (National Gallery of Art, Washington)
Henri Matisse, Open Window, Collioure, 1905, oil on canvas, 55.3 x 46 cm (National Gallery of Art, Washington)
In Henri Matisse’s Open Window, Collioure the casements of a large French window project toward us to reveal an explosion of brilliant Mediterranean color. The paint is applied very loosely; even in reproduction we can see almost every brushstroke. The painting looks as if it were made yesterday, and in some places (like the lower right where bare canvas is visible), seems unfinished. We can envision Matisse’s working process brushstroke by brushstroke, and we are there with him responding with excitement to the wealth of color and light at a Mediterranean seaside town in summer.
Although the style implies a rapid or even slipshod painting process, Open Window, Collioure was carefully orchestrated in every aspect, from the composition to the color relationships and the paint application. The window is placed slightly off center to the left, which gives the composition a casual feeling, in keeping with the slapdash quality of the brushstrokes. Underpinning this seeming casualness, however, is a calculated structure of repeating and nested rectangles that creates both a strong surface pattern and a series of internal “windows.”
Henri Matisse, Open Window, Collioure, detail, 1905, oil on canvas, 55.3 x 46 cm (National Gallery of Art, Washington)
Henri Matisse, Open Window, Collioure, detail, 1905, oil on canvas, 55.3 x 46 cm (National Gallery of Art, Washington)
The brightest area of the painting, the central view of boats in harbor, is framed by some of the painting’s darkest tones in both the literal window frame and a pattern of green leafy vines. Surrounding this central view are multiple subsidiary window panes. Two transom windows at the top frame more views of the porch window and vines. Glass panes in the casement windows reflect both the view outside the French window and the colors of the walls.
Brilliant colors ricochet and echo across the canvas. Matisse uses
complementary color
contrasts throughout, setting off his glowing reds and pinks with cool greens. The walls are fuchsia and green, and the upper window panes of the casements reflect the opposing wall’s color, enhancing the intensity of the hues by contrast. A similar mutually intensifying contrast of colors appears where the vertical stripe of vivid orange paint, perhaps representing a curtain, is brushed next to the dark ultramarine strip of the window frame. Varied patterns of pale pink and turquoise brushstrokes represent sea and sky in the view out the window.
Denying the illusion of depth
Open Window, Collioure engages with, and ultimately undermines, the post-Renaissance conception of a painting being like a window. Matisse’s drawing of the window emphasizes its role as a framing device located in a three-dimensional space. The casements open inward, creating a perspectival view leading to the window opening. The balcony with flower pots on the floor is a shallow intermediate space between the room and the view of the harbor, which reaches to the horizon. However, all of these indications of spatial depth are negated by color and paint application, which emphasize the flat surface of the canvas and fail to create a convincing illusionistic scene. We never forget that we are looking at a painting and not out a window.
Henri Matisse, Open Window, Collioure, 1905, oil on canvas, 55.3 x 46 cm (National Gallery of Art, Washington)
Henri Matisse, Open Window, Collioure, 1905, oil on canvas, 55.3 x 46 cm (National Gallery of Art, Washington)
The highly visible brushstrokes and areas of unpainted canvas are the most obvious way Matisse denies us the illusion of reality, but his use of color is also important. Not only is it extremely bright and flat, lacking the chiaroscuro modulations traditionally used to suggest volume and depth, it also repeatedly subverts clear differentiation of foreground and background. For example, the distant masts of the boats in the harbor and the much closer verticals of the window frames create a surface pattern of bright orange and red verticals. The more distant reds and oranges are not muted to indicate depth through atmospheric perspective. Similarly, the dark blue and green brushstrokes depicting the hulls of the boats are echoed by the dark blue and green paint strokes used to indicate edges of the window frames and various objects in the foreground.
Gustave Caillebotte, Man on a Balcony: Boulevard Haussmann, 1880, oil on canvas, 116 x 89 cm (Private Collection)
Gustave Caillebotte, Man on a Balcony: Boulevard Haussmann, 1880, oil on canvas, 116 x 89 cm (Private Collection)
A glance at Gustave Caillebotte’s compositionally similar Man on a Balcony: Boulevard Haussmann shows how completely Matisse undermines the depiction of perspectival depth. Caillebotte’s naturalistic scene clearly distinguishes between the darker dominating foreground space of the balcony and the vista of sunlit buildings receding down the boulevard. In Matisse’s Open Window, Collioure, the distant harbor view dominates, and it is framed by the window as if it were itself a painting. It has no defined spatial relationship to the foreground, unlike Caillebotte’s vista down the boulevard where we can determine the relation of the balcony to the view with precision.
What Kind of Paint Should I Use for Holiday Window Painting?
Painting windows for the holidays can be a lot of fun. Not only is it a way for you to express your joy and cheer for the holidays, but it can also be an engaging activity for the kids. Generally, children love to paint. They are quite excited to try their hands at different types of canvases and surfaces, which is one of the main reasons why so many children love to draw and write on the walls. As the holidays approach, the excitement level begins to increase throughout the household. The decorations start going up and ornaments are hung from the ceilings. Everybody’s busy doing something or other, and then suddenly, it’s time for painting the windows! And that’s also the time when most people are suddenly lost in thought, wondering about the type of paint that would be best suited for the windows. Ideally, you would want something that will stick and maintain its color throughout the duration of the holidays. However, you don’t want to use standard wall paints since they might be difficult to remove after the holidays are over. You don’t want Santa’s face on the windows throughout the year, do you? How to Paint Your Windows Like a Pro Using tempera paints is a great option when it comes to painting the windows in your house. Tempera is a relatively fast-drying paint that uses colored pigments which are mixed with a binder medium that is soluble in water. The paint is quite long-lasting (paintings made by artists in the Renaissance era were done using tempera, and are still in existence), yet easy to remove. Ideally, you should use powdered tempera paints and mix just a little bit of water in the tray. In order to make the paint stick to the windows, you should also add a little bit of dish soap. Since you will probably be painting on glass, adding a bit of white paint to all other colors except the black outline can help. Some people recommend pre-mixed tempera paints, but you might have an issue with making the paint stick to the windows. It goes without saying that you need to properly clean the glass before applying the paint. Things to Avoid When Painting Holiday Windows There are many mistakes that people make when painting the windows. First of all, remember to never paint inside the windows unless you live in a region that sees a lot of rainfall. Painting inside will significantly hide the painting itself due to the reflection of the glass from the outside. Also, it’s highly recommended that you avoid using old paint. It won’t be long before the paint drips down on the floor. That is one of the main reasons why it’s recommended that you mix the paint yourself. It will allow the paint to stick on the walls and won’t be affected due to the changes in temperature. Follow these tips, and you should be okay!
Bring Christmas into your home with window paint markers
Window paint markers can be used to make wonderful festive art in your home. You can use them to draw simple designs or copy more intricate templates to impress your neighbours!
It’s a fantastic way to show your creativity and produce a temporary window display for the festive season. When you want to take it down, the markers can be easily washed away with water and a damp cloth.
If you have children, you can get them involved too! They’ll have great fun adding stars and snowflakes to your windows this Christmas.
Start feeling festive with a Christmas drawing session
The run-up to Christmas can be very hectic, so it’s good to set aside time for a relaxing art session. Make a mug of steaming hot chocolate, put on a Christmas movie and settle down with your art supplies.
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This snowflake drawing tutorial by Charlotte Kinson is the perfect project for a festive afternoon.
Authors
Sarah Orme Digital Editor, Gathered
Sarah Orme is a UK-based linocut printmaker, digital editor, feature writer and award-winning podcaster. She’s been editing the sewing and art sections of Gathered.how – and before that our sister website calmmoment.com – for over 3 years. She’s the host of Gathered’s We’ve Made It podcast and A Calmer Life podcast. She’s a keen crafter and artist and loves creating DIY tutorials for Gathered. Sarah has previously written features for The Guardian, In The Moment Magazine, Project Calm Magazine, countryfile.com, radiotimes.com and yourhomestyle.uk. She enjoys designing her own unique lino prints and dreams of opening her own online shop. She shares her work @sarahormeprints
