Henri Matisse (1905 to 06). Le Bonheur de Vivre [oil on canvs]. The Barnes Foundation, Merion, Pennsylvania.

Matisse has severely reduced all forms to world of color and shape symbolism that represents their emotional states, including that of the trees and nature. There is minimal reference to optical reality in both depth of field and the shape the figures assume. The ample energy is directed at communicating an impression of simplicity, warmth and comfort and less about creating motion or action. It also confuses what region of the canvas is to be the focal point, though the swirling nature of the composition provides effortless pathways for the eye to follow. Like his contemporary Gauguin, Matisse has created a conceptual rather than perceptual piece that demonstrates remarkable design. 
The formal framework is what presents the endorsement of natural simplicity and rejection of cold, mechanical advancement with such clarity. The abundance is swirling, almost hot color formats the surroundings. These colors, especially pink, develop the figures, formatting them with a sense of purity synonymous with birth, and integrating them with their surroundings. They are further harmonized with nature with the intermittent dense, green and harsh strokes that are used to represent the bodies of trees and fields of grass. 
Conflict is not the right term, but interest-generating tension is present because of the somewhat even distribution, both in area and population, of contrasts. Dense against light tones, defined against blended edges, cool greens and pinks against heated yellows and oranges and swirling, nearly cross-directional lines of force charge and glow on the canvas. This is contextualized by domination of lush, biomorphic forms and prismatic, aberration-free color. 
To me, given the dichotomous formal choices of edge and color, together with “absolutist” choices in shape and chroma, Matisse’s use of value is what qualifies this as a work of design. Careful study of it reveals the nature of blended and incised edges and the interlocking manner of forms, but moreover it emphasizes this composition’s pictorial diffusion and balance. The color scheme is quite interesting too. While purity and warmth dominate, so too do colors analogous with yellow set in a complementary strategy against purple. In this way, a sort of “analogous complementary” scheme is developed. Le Bonheur de Vivre masterfully achieves its goal of impressing a feeling of connection to nature and warmth within the casual observer.