Le Lanceur de Couteaux
View Similar Items
Henri MatisseLe Lanceur de Couteaux1947
1947
About the Item
- Creator:Henri Matisse (1869-1954, French)
- Creation Year:1947
- Dimensions:Height: 25.75 in (65.41 cm)Width: 16.38 in (41.61 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Washington, DC
- Reference Number:1stDibs: LU54435999862
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.
Find original Henri Matisse prints, sculptures and other art on 1stDibs.
- Square Head of a Woman Half Smiling (Plate XII), from CarmenBy Pablo PicassoLocated in Washington, DCArtist: Pablo Picasso Title: Square Head of a Woman Half Smiling (Plate XII) Portfolio: Carmen Medium: Original etching on Montval wove paper Year: 1949 Edition: 289 Frame Size: 21" ...Category
1940s Cubist Portrait Prints
MaterialsEtching
- Face with Two Images in the Eyes (Plate XXXVII), from CarmenBy Pablo PicassoLocated in Washington, DCArtist: Pablo Picasso Title: Face with Two Images in the Eyes (Plate XXXVII) Portfolio: Carmen Medium: Etching on Montval wove paper Year: 1949 Edition: 289 Frame Size: 21" x 18" She...Category
1940s Cubist Portrait Prints
MaterialsEtching
- Round Head of a Woman with Hair (Plate XVIII), from CarmenBy Pablo PicassoLocated in Washington, DCArtist: Pablo Picasso Title: Round Head of a Woman with Hair (Plate XVIII) Portfolio: Carmen Medium: Etching on Montval wove paper Year: 1949 Edition: 289 Frame Size: 21" x 18" Sheet...Category
1940s Cubist Portrait Prints
MaterialsEtching
- Square Head of a Man with Joined Eyebrows (Plate V), from CarmenBy Pablo PicassoLocated in Washington, DCArtist: Pablo Picasso Title: Square Head of a Man with Joined Eyebrows (Plate V) Portfolio: Carmen Medium: Etching on Montval wove paper Year: 1949 Edition: 289 Frame Size: 21" x 18"...Category
1940s Cubist Portrait Prints
MaterialsEtching
- Monogram "J" with Design (Plate VII), from CarmenBy Pablo PicassoLocated in Washington, DCArtist: Pablo Picasso Title: Monogram "J" with Design (Plate VII) Portfolio: Carmen Medium: Etching on Montval wove paper Date: 1949 Edition: 289 Sheet Size: 13" x 10 3/16" Signed: N...Category
1940s Cubist Abstract Prints
MaterialsEtching
- Head of a Bull (Plate XXXII), from CarmenBy Pablo PicassoLocated in Washington, DCArtist: Pablo Picasso Title: Head of a Bull (Plate XXXII) Portfolio: Carmen Medium: Etching on Montval wove paper Year: 1949 Edition: 289 Sheet Size: 13" x 10 3/16" Signed: No (signe...Category
1940s Cubist Animal Prints
MaterialsEtching
- Larionov stencil from 1916: Cricket costume for the ballet "Natural History"By Mikhail LarionovLocated in PARIS, FRBeautiful Larionov stencil from 1916: Cricket costume for the ballet "Natural History Mikhail Fyodorovich Larionov was a Russian avant-garde painter who worked with radical exhibito...Category
1910s Cubist Prints and Multiples
MaterialsPaper, Stencil
- The Grey Root | Le racine gris - French Cubism Spitzer Collotype Still LifeBy (after) Fernand LégerLocated in London, GBThis collotype with pochoir is hand signed in black ink “F.Léger” at the lower right corner. It is also signed and dated in the plate at the lower right. It is hand numbered in pencil from the edition of 250, at the lower left margin. The work was published by Guy Spitzer in 1953 in a limited edition of 250 impressions. The blindstamp of the publisher is in the lower right, as issued. It is stamped with the publisher’s inkstamp, verso. It is additionally numbered with the edition number in blue ink, verso. This work is based on Léger’s oil...Category
1950s Cubist Still-life Prints
MaterialsStencil
- 'Descente de Croix' (Descent from the Cross) — 1920s French CubismBy Albert GleizesLocated in Myrtle Beach, SCAlbert Gleizes, 'Descente de Croix', color pochoir, 1928, edition c. 50. Signed and dated in pencil. A fine, painterly impression, with fresh colors, on heavy, cream wove paper; the full sheet with margins (3 to 4 inches), in very good condition. The publisher's ink stamp 'EDITIONS MOLY-SABATA' beneath the image, lower left. Matted to museum standards, unframed. Image size 12 x 14 inches (305 x 356 mm); sheet size 18 x 22 inches (457 x 559 mm). ABOUT THE IMAGE After the 1927 painting 'Descente de Croix', one of three religious-themed works that Gleizes developed as preliminaries for murals at the church at Serrières, France, the project was terminated at its final phase, and Gleizes commissioned master printer Robert Pouyaud to create prints of the paintings, closely overseeing the production. ABOUT THE MEDIUM Pochoir is a refined stencil-based technique employed to create multiples or to add color to prints produced in other mediums. Characterized by its crisp lines and rich color, the print-making process was most popular from the late 19th century through the 1930s, with its center of activity in Paris. The pochoir process began with the analysis of an image’s composition, including color tones and densities. The numerous stencils (made of aluminum, copper, or zinc) necessary to create a complete image were then designed and hand-cut by the 'découpeur.' The 'coloristes' applied watercolor or gouache pigments through the stencils, skillfully employing a variety of different brushes and methods of paint application to achieve the desired depth of color and textural and tonal nuance. The pochoir process, by its handcrafted methodology, resulted in the finished work producing the effect of an original painting, and in fact, each print was unique. ABOUT THE ARTIST Albert Gleizes (1881-1953), born in Paris, France, was a pioneering figure in the development of abstract art and one of the leading proponents of Cubism. His contributions to the art world extended beyond his paintings; he was also a prolific writer and theoretician, advocating for a new approach to art that emphasized the geometric abstraction of form and a departure from representational traditions. Gleizes initially studied painting at the Académie Julian and the École des Beaux-Arts in Paris, where he was exposed to the academic conventions of the time. However, his artistic vision was profoundly influenced by encounters with avant-garde movements, including Fauvism and the work of Paul Cézanne. These influences led Gleizes to experiment with form and color, gradually moving away from traditional representation toward a more abstract and geometric style. After completing his secondary schooling, Gleizes spent four years in the French army and then began pursuing a career as a painter, primarily doing landscapes. Initially influenced by the Impressionists, he was only twenty-one years of age when his work titled ‘La Seine à Asnières’ was exhibited at the Société Nationale des Beaux-Arts in 1902. The following year, he was part of the first Salon d'Automne and soon came under the influence of Fernand Léger, Robert Delaunay, Jean Metzinger, and Henri Le Fauconnier. In 1907, Gleizes and some of his friends pursued the idea of creating a self-supporting community of artists that would allow them to develop their art free of any commercial concerns. For nearly a year, Gleizes , with other painters, poets, musicians, and writers, lived at a large house in Créteil, but a lack of funds forced them to give up their facility in early 1908, and Gleizes moved temporarily into La Ruche, the artist commune in the Montparnasse Quarter of Paris. In the early 1910s, Gleizes became associated with the Cubist movement, which was spearheaded by artists such as Pablo Picasso and Georges Braque...Category
1920s Cubist Abstract Prints
MaterialsStencil
- Tribute to Cezanne : the Apples - LithographBy Georges BraqueLocated in Paris, FRGeorges BRAQUE Tribute to Cezanne : the Apples, c. 1955 Lithograph and stencil (Jacomet workshop) Printed signature in the plate On light vellum 39...Category
1950s Cubist Still-life Prints
MaterialsLithograph, Stencil
$659 Sale Price25% Off - La Mandoline - Lithograph and Stencil - 1943By (after) Georges BraqueLocated in Paris, FR(after) Georges Braque, (1882 - 1963) La Mandoline (1943) Lithograph and stencil On vellum 40 x 48 cm (c. 16 x19 inch) Printed signature in the plate Edition of 300 Very good co...Category
1940s Cubist Figurative Prints
MaterialsLithograph, Stencil
- Juan Gris: Catalogue RaisonnéBy Douglas CooperLocated in Beverly Hills, CAPublished in a limited edition of 750. Author: Douglas Cooper Format: Hard Copy Publisher: Berggruen Éditeur Publisher Location: Paris, France Total Pag...Category
Early 20th Century Cubist More Prints
MaterialsPaper