Henri MatisseLe repos du modèle
About the Item
- Creator:Henri Matisse (1869-1954, French)
- Dimensions:Height: 8.75 in (22.2 cm)Width: 11.97 in (30.4 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU26226746772
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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- Repos sur la banquetteBy Henri MatisseLocated in London, GBHenri Matisse Repos sur la banquette 1929 Lithograph on Arches Velin paper, Edition of 50 Paper size: 49.5 x 65.5 cms (19 1/2 x 25 3/4 ins) Image size: 44.5 x 54.5 cms (17 1/2 x 21 1...Category
1920s Modern Figurative Prints
MaterialsLithograph
- La PersaneBy Henri MatisseLocated in London, GBHenri Matisse La Persane 1929 Lithograph on Arches Velin paper, Edition of 50 Paper size: 63 x 44.5 cms (24 3/4 x 17 1/2 ins) Image size: 44.8 x 29 cms (1...Category
1920s Modern Figurative Prints
MaterialsLithograph
- Nu renversé près d'une table Louis XVBy Henri MatisseLocated in London, GBHenri Matisse Nu renversé près d'une table Louis XV 1929 Lithograph on Arches Velin paper, Edition of 50 Paper size: 66 x 50 cms (26 x 19 7/8 ins) Image size: 55.9 x 46 cms (22 x 18...Category
1920s Modern Figurative Prints
MaterialsLithograph
- Odalisque à la culotte de satin rougeBy Henri MatisseLocated in London, GBHenri Matisse Odalisque à la culotte de satin rouge 1925 Lithograph on Chine paper, Edition of 50 Paper size: 28.5 x 36.5 cms (11 1/4 x 14 3/8 ins) Image size: 19 x 27 cms (7 1/2 x 1...Category
1920s Modern Nude Prints
MaterialsLithograph
- Torse à l'aiguièreBy Henri MatisseLocated in London, GBHenri Matisse Torse à l’aiguière 1927 Lithograph on Chine paper, Edition of 50 Paper size: 49.5 x 34.5 cms (19 1/2 x 13 1/2 ins) Image size: 36.4 x 26 cms (14 1/4 x 10 1/4 ins) HM15...Category
1920s Modern Figurative Prints
MaterialsLithograph
- Nu couchéBy Henri MatisseLocated in London, GBHenri Matisse Nu couché 1929 Etching on Chine appliqué on wove paper, Edition of 25 Paper size: 28.6 x 38 cms (11 1/8 x 14 5/8 ins) Plate size: 12.3 x 15.5 cms (4 3/4 x 6 1/8 ins) HM...Category
1920s Modern Figurative Prints
MaterialsEtching
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1960s Modern Nude Prints
MaterialsLithograph
- Figure - Original Lithograph by L. Sasso - 20th CenturyLocated in Roma, ITFigure is a splendid lithograph engraved by L. Sasso. The state of preservation of the artwork is excellent. Image Container: 40 x 30 cm Image Dimensions: 23.5 x 16 cm Illegible ...Category
20th Century Modern Figurative Prints
MaterialsLithograph
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1930s Modern Nude Prints
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- Untitled framed lithograph by Aristide MaillolBy Aristide MaillolLocated in Boca Raton, FLFramed lithograph of female nude of pastel by Aristide Maillol. Initials in lower-right corner. Framed under glass in wooden frame.Category
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MaterialsLithograph
- Leonor Fini - Orgy - Original Handsigned LithographBy Leonor FiniLocated in Collonge Bellerive, Geneve, CHLeonor Fini - Orgy - Original Handsigned Lithograph Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 cmCategory
1980s Modern Nude Prints
MaterialsLithograph
- Leonor Fini - Pregnant - Original Handsigned LithographBy Leonor FiniLocated in Collonge Bellerive, Geneve, CHLeonor Fini - Pregnant - Original Handsigned Lithograph Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 cm Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture for her childhood friend Leo Castelli for the opening of his first gallery. Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau. A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri...Category
1980s Modern Nude Prints
MaterialsLithograph