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Henri Matisse. . . ON DIRAIT QU'ELLE NE M'A JAMAIS VUE . . .1944
1944
About the Item
Original linocut printed in black ink on Rives wove paper.
Bearing the artist's estate monogram blindstamp in the paper lower right.
A superb impression of the definitive state from the edition of 100, numbered in pencil in the lower left corner of the sheet. One of thirty full-page linocut plates (apart from the cover and many designs and illuminations also created in linocut) illustrating the Henry de Montherlant text "Pasiphaé." The impressions were printed from the artist's original linoleum blocks by Marthe Fequet and Pierre Baudier, Paris, and published by Les hétitiers de l'artiste in the album Pasiphaé/Chant de Minos, Vol. II, Paris, 1981.
Image Size: 9 5/8 x 7 1/16 inches
Sheet Size: 12 3/4 x 9 3/4 inches
- Creator:Henri Matisse (1869-1954, French)
- Creation Year:1944
- Dimensions:Height: 12.75 in (32.39 cm)Width: 9.75 in (24.77 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:San Francisco, CA
- Reference Number:
Henri Matisse
Whether working as a draftsman, a sculptor, a printmaker or a painter, Henri Matisse was a master of color. Although classically trained at the Académie Julian, in Paris, he quickly abandoned traditional techniques and genres to pioneer a style all his own, marked by quick, gestural strokes and fluid contours.
Along with fellow painter André Derain, Matisse was the leading proponent of Fauvism, a movement whose name is derived from the French word for "wild beast.” Marked by vibrant hues, Fauvist paintings like Matisse’s famous 1906 composition Le Bonheur de vivre use wild, active brushstrokes and a palette unconstrained by nature, resulting in women with purple skin and trees with orange leaves. Often, these compositions unite pure color with the white of exposed canvas to create a sense of transparency and light.
In addition to masterful landscapes and still lifes, Matisse loved to paint erotic subjects, particularly the female nude. Rejecting strict realism, he distilled the form into its essential parts and then translated these into voluptuous, rounded contours. With its striking colors and sculptural modeling of the figure, Odalisque couchée aux magnolias is among Matisse’s most famous works — and the most expensive work of his ever sold — depicting Henriette Darricarrère, his muse and favorite model for around seven years, lounging luxuriously in his Nice studio. In pictures like the lithograph Nu Bleu, he explored the expressive power of a body in motion by placing his figures in twisted or contorted poses, transforming their limbs into tangles of color and shape that push figure painting toward abstraction.
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