Items Similar to Composition (Duthuit 101), Verve: Revue Artistique et Littéraire
Want more images or videos?
Request additional images or videos from the seller
1 of 10
Henri MatisseComposition (Duthuit 101), Verve: Revue Artistique et Littéraire1940
1940
About the Item
Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Matisse, Henri, et al. Henri Matisse: Catalogue Raisonné de L’oeuvre Gravé Établi Avec La Collaboration de Françoise Garnaud. C. Duthuit, 1983, illustration 101. Notes: From the album, Verve: Revue Artistique et Littéraire, Vol. II, N° 8, 1940. Published by Éditions de la revue Verve, Paris, under the direction of Tériade, éditeur, Paris; printed by Mourlot Frères, Paris, June 1, 1940 in an edition of MM. Excerpted from the album (translated from French), This the eighth number of Verve, devoted to the nature of France, was entirely composed during the War, and its printing was completed in Paris, June 1, 1940. Additional notes: Excerpted from Poppy Sfakianaki, ‘La revue Verve (1937–60): Un tremplin pour la carrière de Tériade dans les éditions d’art’, Journal of European Periodical Studies, 4.2 (Winter 2019), 70–89, In 1937, Tériade (1897-1983) met David Smart (1892-1952), the American publisher of Esquire magazine, who offered him to the opportunity to collaborate on the creation of 'the most beautiful magazine in the world'. Smart recognized in Tériade not only his ability as a publisher and knowledge of art history, but also his professional network and the name he made for himself in the Parisian art world—all crucial advantages for an editorial business. Having had the commercial conviction that beauty "sells", Smart intended to address the American public, attracted to French art, including Modern art, and the myth of artistic life in Paris. For his part, Tériade saw the proposed collaboration as an opportunity for a foray into the American market—a powerful ally of modern art in France. Éditions de la Revue Verve was founded in November 1937, largely funded by Smart, and directed by Tériade. Verve: Revue Artistique et Littéraire was a luxurious and ambitious art publication, published not only in French, but also in English in its early years, and distributed in Europe and the United States. Its configuration was reminiscent of that of the French art journals Cahiers d'art, Minotaure, and Arts et métiers graphiques, as well as that of the American art magazine, Coronet. However, Verve was superior to the competition because of its copious iconography and high printing quality. Its price varied between 60 and 150 francs (for double numbers) before the war, and between 120 and 350 francs during the war. Given its high price, the magazine mainly targeted art dealers, collectors, bibliophiles and wealthy art lovers. The exquisite aesthetics of the magazine was due to its editor-in-chief, Tériade, who sought to develop a platform for dialogue between image and text, visual arts and literature. The dominant factor of each issue remains its iconography, composed of reproductions of works by modern artists that Tériade admired, and 'masters', mainly of the French tradition, alongside photos and miniatures of medieval manuscripts. Tériade undoubtedly realized with his magazine an idea expressed in 1934 according to which books served as an 'ideal museum' or an exhibition where all the artistic masterpieces are gathered, which Malraux developed later in Le Musée imaginaire (Geneva: Skira, 1947), parts of which will appeared in Verve. During Second World War the periodicity of the journal changed, then irregular, and the less varied nature of the subjects treated. Thus, the issues published during the War (as well as in 1945 and 1946) were devoted exclusively to the reproduction of medieval illuminations. Finally, the special issues of the post-war period each present the recent production of a modern art painter. Only numbers 8 (1940) and 27-28 (1952) were an exception with a more varied summary. Verve's reception was positive as evidenced by several laudatory press articles throughout its run. The success of the magazine, Tériade's passion for modern art and medieval manuscripts, his admiration for the publications of Ambroise Vollard and Albert Skira, and his knowledge of the world of bibliophiles, soon led him to amplify his editorial activity. In 1943, despite the practical difficulties imposed by the war, his first artist's book was published, written and illustrated by Georges Rouault. Until 1975, Tériade published Éditions de la Revue Verve, nine books by modern artists, such as Henri Matisse, Pablo Picasso, Marc Chagall, Joan Miró, entirely composed (text and images) by the artists; seventeen books illustrated by recognized modern artists; an album of lithographs by Fernand Léger on Paris; two photographic albums by Henri Cartier-Bresson; two monographs on the artists André Beaudin and Francisco Borès; a luxurious series of reproductions of medieval illuminations; and, a series of portfolios on great French architecture. Ultimately, the comparative study of the journal and the editions of Verve: Revue Artistique et Littéraire illustrates the importance of the tacit relational dynamic that results from the relations of collaboration and exchange of symbolic capital based on common perceptions and interests, as well as on feelings of mutual friendship and appreciation of actors in the art world who share a visual and bibliophilic culture and thus contribute to the success of the journal and the publishing house.
HENRI MATISSE (1869-1954) was a French artist, known for his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter. Matisse is commonly regarded, along with Picasso and Marcel Duchamp, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting and sculpture.
Although he was initially labeled a Fauve (wild beast), by the 1920s he was increasingly hailed as an upholder of the classical tradition in French painting. His mastery of the expressive language of colour and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art.
- Creator:Henri Matisse (1869-1954, French)
- Creation Year:1940
- Dimensions:Height: 14 in (35.56 cm)Width: 10.25 in (26.04 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Auburn Hills, MI
- Reference Number:1stDibs: LU1465216383182
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.
About the Seller
4.9
Platinum Seller
Premium sellers with a 4.7+ rating and 24-hour response times
Established in 1978
1stDibs seller since 2021
1,099 sales on 1stDibs
Typical response time: <1 hour
- ShippingRetrieving quote...Shipping from: Auburn Hills, MI
- Return Policy
Authenticity Guarantee
In the unlikely event there’s an issue with an item’s authenticity, contact us within 1 year for a full refund. DetailsMoney-Back Guarantee
If your item is not as described, is damaged in transit, or does not arrive, contact us within 7 days for a full refund. Details24-Hour Cancellation
You have a 24-hour grace period in which to reconsider your purchase, with no questions asked.Vetted Professional Sellers
Our world-class sellers must adhere to strict standards for service and quality, maintaining the integrity of our listings.Price-Match Guarantee
If you find that a seller listed the same item for a lower price elsewhere, we’ll match it.Trusted Global Delivery
Our best-in-class carrier network provides specialized shipping options worldwide, including custom delivery.More From This Seller
View AllAu Jardin d'Allah, Verve: Revue Artistique et Littéraire
By André Derain
Located in Auburn Hills, MI
Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et ...
Category
1930s Fauvist Abstract Prints
Materials
Lithograph
$716 Sale Price
20% Off
Au Jardin d'Allah, Verve: Revue Artistique et Littéraire
By André Derain
Located in Auburn Hills, MI
Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et ...
Category
1930s Fauvist Abstract Prints
Materials
Lithograph
$716 Sale Price
20% Off
Composition (Duthuit 101), Verve: Revue Artistique et Littéraire
By Henri Matisse
Located in Auburn Hills, MI
Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonné reference: Matisse, ...
Category
1940s Fauvist Landscape Prints
Materials
Lithograph
$796 Sale Price
20% Off
Free Shipping
Au Jardin d'Allah, Verve: Revue Artistique et Littéraire
By André Derain
Located in Auburn Hills, MI
Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et ...
Category
1930s Fauvist Abstract Prints
Materials
Lithograph
$716 Sale Price
20% Off
Free Shipping
Au Jardin d'Allah, Verve: Revue Artistique et Littéraire
By André Derain
Located in Auburn Hills, MI
Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Verve: Revue Art...
Category
1930s Fauvist Abstract Prints
Materials
Lithograph
$716 Sale Price
20% Off
Coucher De Soleil Sur La Méditerranée, Verve: Revue Artistique et Littéraire
By Pierre Bonnard
Located in Auburn Hills, MI
Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 20.50 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the album,...
Category
1940s Post-Impressionist Landscape Prints
Materials
Lithograph
$716 Sale Price
20% Off
Free Shipping
You May Also Like
Le Petit Pont ( A Lithograph from Notre Pain Quotidien)
By Maurice de Vlaminck
Located in New York, NY
Maurice de Vlaminck (French 1876 - 1958), "Le Petit Pont" ( A Lithograph from Notre Pain Quotidien)" Abstract/ Post-Impressionist Lithograph, 17 x 20, Late 20th Century, 1963
Colors: Black and White
Maurice was three years old when his family moved from Paris to Vésinet. He first pursued the same musical career as his parents, who were both musicians, leaving his home as a trained double-bass player in 1892 to move to Chatou near Versailles. After absolving his military service in Vitré Maurice Vlaminck worked as a musician until he accidentally met André Derain in 1900. It was Derain who kindled Vlaminck's artistic ambitions. He decided to become a painter and rented an old hut in which he and Derain shared a studio. A crucial turning point in Vlaminck's artistic development was a visit to a van Gogh exhibition...
Category
1960s Post-Impressionist Abstract Prints
Materials
Lithograph
Le Bassin ( A Lithograph from Notre Pain Quotidien)
By Maurice de Vlaminck
Located in New York, NY
Maurice de Vlaminck (French 1876 - 1958), "Le Bassin" ( A Lithograph from Notre Pain Quotidien)" Abstract/ Post-Impressionist Lithograph, 17 x 20, Late 20th Century, 1963
Colors: Black and White
Maurice was three years old when his family moved from Paris to Vésinet. He first pursued the same musical career as his parents, who were both musicians, leaving his home as a trained double-bass player in 1892 to move to Chatou near Versailles. After absolving his military service in Vitré Maurice Vlaminck worked as a musician until he accidentally met André Derain in 1900. It was Derain who kindled Vlaminck's artistic ambitions. He decided to become a painter and rented an old hut in which he and Derain shared a studio. A crucial turning point in Vlaminck's artistic development was a visit to a van Gogh...
Category
1960s Post-Impressionist Abstract Prints
Materials
Lithograph
Place de L'Eglise ( A Lithograph from Notre Pain Quotidien)
By Maurice de Vlaminck
Located in New York, NY
Maurice de Vlaminck (French 1876 - 1958), "Place de L'Eglise ( A Lithograph from Notre Pain Quotidien)" Abstract/ Post-Impressionist Lithograph, 17 x 20, Late 20th Century, 1963
Colors: Black and White
Maurice was three years old when his family moved from Paris to Vésinet. He first pursued the same musical career as his parents, who were both musicians, leaving his home as a trained double-bass player in 1892 to move to Chatou near Versailles. After absolving his military service in Vitré Maurice Vlaminck worked as a musician until he accidentally met André Derain in 1900.
It was Derain who kindled Vlaminck's artistic ambitions. He decided to become a painter and rented an old hut in which he and Derain shared a studio. A crucial turning point in Vlaminck's artistic development was a visit to a van Gogh...
Category
1960s Post-Impressionist Abstract Prints
Materials
Lithograph
"The Sun Shines All Over", Vintage Geometric Abstract Landscape Screen Print
By Xiu-ping Liao
Located in Soquel, CA
"The Sun Shines All Over", a bold minimalist vintage abstract landscape print by the renowned printmaker Shiou-ping Liao (Taiwanese, b.1936). A perfectly circular, high voltage rainb...
Category
1960s Abstract Geometric Abstract Prints
Materials
Paper, Mixed Media, Lithograph
Bridge: abstract black drawing based on Auden poetry and Yorkshire landscape
By Henry Moore
Located in New York, NY
One of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from t...
Category
Late 20th Century Modern Landscape Prints
Materials
Lithograph
Lullaby Sketches: black white drawing based on Auden poetry and Yorkshire lands
By Henry Moore
Located in New York, NY
One of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from the portfolio (edition of 75) and the book. Signed by the artist and numbered 1/25 lower left in pencil.
This print features small sketches of heads resting on forearms. Moore experimented with different angles, appearing to practice for the composition for Lullaby: Sleeping Head, which depicts a shadowy figure supporting the head of a sleeping woman. Lullaby: Sketches is a rare window into Moore’s process of composing an image. Delicate, single-line arms and hair reveal the sculptor’s equal talent as a draftsman.
The imagery for Lullaby Sketches was inspired by Auden’s poem Lullaby. Lullaby was the first poem Moore read for this project, which begins:
“Lay your sleeping head, my love / Human on my faithless arm; / Time and fevers burn away Individual beauty from / Thoughtful children, and the grave / Proves the child ephemeral: / But in my arms till break of day / Let the living creature lie, / Mortal, guilty, but to me / The entirely beautiful.”
The Auden/Moore limited edition book and portfolio were exhibited on publication at the British Museum, London, with an accompanying catalogue. Lullaby Sketches is one of a group of lithographs...
Category
Late 20th Century Modern Abstract Prints
Materials
Lithograph
