Henri Matisse, Odalisque sur la terrasse (Odalisque on the Terrace), 1922
Henri Matisse, Aquatint, Odalisque sur la terrasse (Odalisque on the Terrace), 1922
|Artist:||Matisse, Henri (1869 - 1954)|
|Title:||Odalisque sur la terrasse (Odalisque on the Terrace), 1922|
Original Color Aquatint on Arches Paper
|Image Size:||23 1/2 in x 19 in (59.7 cm x 48.3 cm)|
|Sheet Size:||32 3/4 in x 24 1/2 in (83.2 cm x 62.2 cm)|
|Framed Size:||40 in x 35 1/2 in (101.6 cm x 90.2 cm)|
|Signed:||This work is hand signed by Henri Matisse (Le Cateau - Cambrésis , 1869 - Nice, 1954) in black ink in the lower right margin; also signed by Matisse in the plate in the lower left.|
|Edition:||Numbered from the edition of 200 in black ink in the lower left margin. Annotation in the lower left of the plate, ‘gravé par Jacques Villon 1922’|
|Condition:||This work is in good condition with bright, bold colors and a visible plate mark all around; with very wide margins|
This exquisite work depicts one of Matisse's favorite subjects, the odalisque. The image is infused with light and sensuality stemming from the artist's painterly grace.
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This large, dramatic and beautiful work has been thoughtfully executed, expressing the technical mastery and skill of Henri Matisse. Brightly colored and delicately composed, this work is a wonderful example of the artist's odalisque series of works he is so well known for. Presenting a detailed composition with expressive lines and strokes, this piece is a tribute to the female form. Composed of two figures, one seated and the other reclined, the linear elements of this work create motion and lead the eye around the image. Soft pastels of reds, pinks, blues, and oranges contrast with the accents of black linear elements dispersed eloquently throughout this piece. Very detailed, the nude figure appears closer to the viewer holding a violin, expressing a studied figure with a quality similar to that of the still life of a musical instrument. Set back in space, the reclining figure stands out with the white interior of the figure and hat. Delicately balanced, the open spaces around the figures are divided by even distribution of color and objects such as flowers and drapery.
Created in 1922, this original color aquatint is engraved by Jacques Villon after an original oil on canvas from 1921 by Henri Matisse titled Au bord de la mer (At the Seaside). Hand signed by Henri Matisse (Le Cateau-CAmbrésis, 1869 - Nice, 1954) in black ink in the lower right margin and also signed in the plate in the lower left. Numbered from the edition of 200 in black ink in the lower left margin. Annotation in the lower left of the plate, 'gravé par Jacques Villon 1922'; published by Galerie Bernheim-Jeune, Paris out of the total edition of 200 printed on Arches block watermarked paper. An example of this work has been exhibited in 1928 at the Galerie Bernheim-Juene, Paris and in 1964 at the Gallery Light, New York.
Catalogue Raisonné & COA:
1. Duthuit-Matisse, M. & Duthuit, C. (1983). Henri Matisse: Catalogue raisonné de l'uvre grave établi avec la collaboration de Françoise Garnaud. Jean Guichard-Meili: Paris. Listed and illustrated as catalogue raisonné no. I on pgs. 354-5.
2. Ginestet, C. & Pouillon, C. Jacques Villon: Les estampes et les illustrations. Arts et Métiers Graphiques: Paris. Listed and illustrated as catalogue raisonné no. E.633 on pgs. 394-5.
3. A Certificate of Authenticity will accompany this work.
About the Framing:
|Style:||20th Century Master|
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Biography of Henri Matisse
Henri Émile Benoît Matisse was a French artist, leader of the Fauve group, regarded as one of the great formative figures in 20th-century art, a master of the use of color and form to convey emotional expression.
Henri Matisse was born in December of 1869 in Le Cateau, France. He began painting during a convalescence from an operation, and in 1891 moved to Paris to study art. Matisse became an accomplished painter, sculptor and graphic designer, and one of the most influential artists of the 1900s.
Matisse was born the son of a middle-class family, he studied and began to practice law. In 1890, however, while recovering slowly from an attack of appendicitis, he became intrigued by the practice of painting. In 1892, having given up his law career, he went to Paris to study art formally. His first teachers were academically trained and relatively conservative; Matisse's own early style was a conventional form of naturalism, and he made many copies after the old masters. He also studied more contemporary art, especially that of the impressionists, and he began to experiment, earning a reputation as a rebellious member of his studio classes. Matisse's true artistic liberation, in terms of the use of color to render forms and organize spatial planes, came about first through the influence of the French painters Paul Gauguin and Paul Cezanne and the Dutch artist Vincent van Gogh, whose work he studied closely beginning about 1899. Then, in 1903 and 1904, Matisse encountered the pointillist painting of Henri Edmond Cross and Paul Signac. Cross and Signac were experimenting with juxtaposing small strokes (often dots or “points”) of pure pigment to create the strongest visual vibration of intense color. Matisse adopted their technique and modified it repeatedly, using broader strokes. By 1905 he had produced some of the boldest color images ever created, including a striking picture of his wife, Green Stripe (Madame Matisse) (1905, Statens Museum for Kunst, Copenhagen). The title refers to a broad stroke of brilliant green that defines Madame Matisse's brow and nose. In the same year Matisse exhibited this and similar paintings along with works by his artist companions, including Andre Derain and Maurice de Vlaminck. Together, th,of emotionalism in which they seemed to have indulged, their use of vivid colors, and their distortion of shapes.
While he was regarded as a leader of radicalism in the arts, Matisse was beginning to gain the approval of a number of influential critics and collectors, including the American expatriate writer Gertrude Stein and her family. Among the many important commissions he received was that of a Russian collector who requested mural panels illustrating dance and music (both completed in 1911; now in the Hermitage, Saint Petersburg). Such broadly conceived themes ideally suited Matisse; they allowed him freedom of invention and play of form and expression. His images of dancers, and of human figures in general, convey expressive form first and the particular details of anatomy only secondarily. Matisse extended this principle into other fields; his bronze sculptures, like his drawings and works in several graphic media, reveal the same expressive contours seen in his paintings. Although intellectually sophisticated, Matisse always emphasized theimportance of instinct and intuition in the production of a work of art. He argued that an artist did not have complete control over color and form; instead, colors, shapes, and lines would come to dictate to the sensitive artist how they might be employed in relation to one another. He often emphasized his joy in abandoning himself to the play of the forces of color and design, and he explained the rhythmic, but distorted, forms of many of his figures in terms of the working out of a total pictorial harmony.
From the 1920s until his death, Matisse spent much time in the south of France, particularly Nice, painting local scenes with a thin, fluid application of bright color. In his old age, he was commissioned to design the decoration of the small Chapel of Saint-Marie du Rosaire at Vence (near Cannes), which he completed between 1947 and 1951. Often bedridden during his last years, he occupied himself with decoupage, creating works of brilliantly colored paper cutouts arranged casually, but with an unfailing eye for design, on a canvas surface. Matisse died in Nice on November 3, 1954. Unlike many artists, he was internationally popular during his lifetime, enjoying the favor of collectors, art critics, and the younger generation of artists.
Matisse's work reflects a number of influences: the decorative quality of Near Eastern art, the stylized forms of the masks and sculpture of African, the bright colors of the French impressionists, and the simplified forms of French artist Paul Cezanne and the cubists.