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Henri MatisseLa Capeline de Paille d'Italie (The Italian Straw Hat).1923
1923
About the Item
La Capeline de Paille d'Italie (The Italian Straw Hat). 1923. Lithograph. Duthuit 430. 17 3/4 x 15 3/4 (sheet 23 1/8 x 17 7/8). Trial proof, apart from the published edition of 50. A tonal impression printed on chine volant paper with full margins. Signed and inscribed 'Essai' (trial proof) in pencil by the artist. Housed in an archival French mat and an exquisite 30 1/2 x 26 1/8 x 1 1/2-inch gold leaf frame.
La Capeline de Paille d'Italie is also the theme of two paintings, oil on canvas, painted in Nice in 1923.
Matisse became an avid printmaker in 1906. He was especially involved in the process of lithography, a medium that led to black and white illustrations for books and over 100 original lithographs at the Mourlot studio. The lithographs were often printed in editions of 25 to 50 and included serial imagery such as reclining nudes, interiors, and portraits. The lithographs were mostly in black and white, retaining the same sense of spontaneity and intimacy as his pencil sketches. Matisse eventually installed a printing press in his own studio. Henri Matisse approached printmaking with a toolbox of techniques that allowed him to explore the medium to its fullest. Widely recognized as one of the greatest and most diverse printmakers of the 20th century, he worked with various printmaking methods throughout the course of his career.
- Creator:Henri Matisse (1869-1954, French)
- Creation Year:1923
- Dimensions:Height: 30.5 in (77.47 cm)Width: 26.13 in (66.38 cm)Depth: 1.5 in (3.81 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Storrs, CT
- Reference Number:1stDibs: LU33528204572
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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