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Henri Matisse
Le pied ou Etude de pied, Henri Matisse, Sculpture, Bronze, 1950's, 3/10 pieces




Le pied ou Etude de pied, Henri Matisse, Sculpture, Bronze, 1950's, 3/10 pieces Conceived in 1909, cast in 1952. Ed. 3/10. Signed and numbered on the top of the base : H.M.3 ; Stamped with the foundry mark on the back of the base: C.Valsuani Cire Perdue. Henri Matisse : Catalogue Raisonné de l'oeuvre sculpté by Claude Duthuit, Edition Claude Duthuit, 1997, similar cast listed in black and white p.118 under no.43. Provenance : Artist's estate Private Collection Literature : The sculpture of Matisse, by Alicia Legg, Museum of Modern Art, New York, 1972, similar cast illustrated in b&w p 108-110 under no.141. Matisse peintures et sculptures dans les musées soviétiques by A.Izergehina, Editions d'art Aurora, Leningrad, 1978, similar cast illustrated p.188 under no.58. The sculpture of Henri Matisse, by Isabelle Monod-Fontaine, Thames and Hudson Ltd, 1984, similar cast illustrated in b&w and listed under no.35. Matisse, by Pierre Schneider, Edition It.Milano, 1985, similar cast illustrated p.283. Matisse : terre-lumière, by Claude Fournet, Parigi, 1985, similar cast illustrated p.65. Henri Matisse : Matisse et l'Italie, Arnoldo Mondadori Editore, 1987, similar cast illustrated in b&w p.181 and listed under no.S38. Une splendeur Inouïe by Savier Girard, Gallimard, 1993, similar cast illustrated p.60. Henri Matisse : Catalogue Raisonné de l'oeuvre sculpté by Claude Duthuit, Edition Claude Duthuit, 1997, similar cast listed p.118 under no.43 and illustrated in b&w. Matisse's Sculpture : The Pinup and the Primitive by Ellen McBreen, Yale University Press, 2014, similar cast illustrated p.155 under no.153. When Matisse started to create sculptures in 1904, he was looking for a new form of art, which allowed him "to put an order in [his] brain" [1]. With such an expressive approach Matisse creates this "Etude de Pied" in 1909, which captures the tensions, torsions and flexion of a feminine foot. The bronze is roughly treated and the modeling marks remain visible. According to Matisse, the sculptor has to express his feelings through the modeling. These marks convey the artist's vigorous and passionate act of creation. For Matisse, details are not that important, as he explained to the New York Times in 1913: "Proportions don't matter, as long as there are feelings. All that matter is the possibility to express yourself" [2]. If Matisse's sculpted works are often considered complementary to his paintings, this sculpture is the only one that is directly linked to one of his oil on canvas. Indeed, this foot was used by Matisse as a model for one of his most famous painting "La Danse (II)" (1910-1911, Hermitage Museum, Saint Petersburg, Russia). Distinguished by its modern sensibility, this bronze is also within the academic tradition of sculpture study. This link between sculptures and paintings shows Matisse's aesthetic continuity and coherence in all forms of art. The model was conceived in 1909 and the bronze was cast in 1952 by the Valsuani foundry, during the artist's lifetime. This sculpture is on of the editions of 10, cast between 1936 and 1952. Other pieces of this edition now belong to the Hermitage Museum of Saint Petersburg, the Matisse Museum of Nice and the Fine Arts Museum of Grenoble. Born December 31st, 1869 in Cateau-Cambressis, Matisse was a student of Gustave Moreau and Adolphe William Bouguereau at the Julian Academy, where he developed a naturalistic style. In 1897, the artist encountered John Peter Russel, who introduced him to the Theory of Color, which greatly influenced the artist. Later in 1905, Matisse moved to the South of France where he begun to use brighter and stronger colors and became a part of the Fauvist movement that had a scandal at the Salon d’Automne. He was exhibited at the Salon des Indépendants and the Armory Show of New York in 1913. From this period, the biggest collectors, such as Gertrude Stein, were already looking for his works. The synthetic turn, initiated in the 1910’s, was confirmed during the period between the wars. He started his paper cut works during the 1940’s. A retrospective exhibition of his work was held by the Museum of Modern Art of New York in 1951, before the Matisse Museum opened in his native city of Cateau-Cambresis in 1952. Matisse died in Nice, on November 3rd, 1954. Almost ten years later, In 1963, the Matisse Museum of Nice opened. Internationally recognized as one of the greatest artist of the XXth century, his works can be found in the most prestigious museums of the world, such as the Metropolitan Museum of New York, the R. Solomon Guggenheim Museum of New York, the Orsay Museum in Paris, the National Gallery and the Tate Gallery of London, the Thyssen-Bornemisza Museum of Madrid or the Albertina Museum of Vienna. [1] Quoted by Pierre Courthion, « Le visage de Matisse », Paris, Marguerat, 1942 [2] Quoted by Albert E. Elsen, « The Sculpture of Henri Matisse », New York, Harry N. Abrams, 1972, p. 46


  • Creator
    Henri Matisse (1869-1954, French)
  • Creation Year
  • Dimensions
    Height: 11.93 in. (30.3 cm)Width: 4.73 in. (12 cm)
  • Medium
  • Movement & Style
  • Period
  • Condition
  • Gallery Location
    Geneva, CH
  • Reference Number
    1stDibs: LU150227641192

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About the Artist

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. 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 push figure painting toward abstraction.Find original Henri Matisse art on 1stDibs.
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