Henri Matisse Figurative Print - D.483 (Dancer on Wooden Armchair) from Dix Danseuses
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Henri Matisse
D.483 (Dancer on Wooden Armchair) from Dix Danseuses

1927

About

This piece is an original lithograph by Henri Matisse, published in 1927. It is from the series entitled "Dix Danseuses", which consists of 10 original lithographs. The original plates were drawn in 1925-26 and the entire album was published in 1927 by the Galerie d'Art Contemporain de Paris. This piece is hand signed and numbered 74/130 from the edition of 130 on Arches (please see multiple edition sizes below). This piece is referenced as number 483 in "Henri Matisse: Catalogue Raisonee de Ouvrages Illustres" by Claude Duthuit. Additional edition Sizes: -5 copies on Chine paper -15 copies on Japon -130 copies on Arches paper -8 H.C. copies on Arches paper

Details

  • Condition
    Excellent
  • Dimensions

    H 20 in. x W 13 in.

    H 50.8 cm x W 33.02 cm

  • Gallery location
    Chatsworth, CA
  • Reference number
    LU56132699081

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About Henri Matisse (Artist)

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. In pictures like the lithograph Nu Bleu, he explored the expressive power of a body in motion by placing his figures in twisted or conrtorted poses, transforming their limbs into tangles of color and shape that pushfigure painting toward abstraction.

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