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Henri MatisseHenri Matisse: Colour Lithographs after the Cut-Outs, Framed Print, 1958 1958
1958
About the Item
Henri Matisse: Colour Lithographs after the Cut-Outs, Framed Print, 1958
In 1941 Matisse underwent abdominal surgery after which he found painting to be physically taxing. Increasingly, he devoted his time to exploring other forms of artistic expression, including drawing, book illustration and collage. Though frail, his power as an artist was undiminished and the last decade of his life proved to be one of the most fertile and astonishing periods of his whole career. This was largely due to his invention of a new art form composed of cut-paper collages, the "cut-outs", which became his main medium until his death in 1954. Resting on his bed or sitting up on a chair, Matisse would use scissors to cut from sheets of paper painted in different colours by his assistants, forming shapes which he would then combine to create striking compositions.
The publication of "Jazz" (1947), an extraordinary series of stencil prints after cut-outs based on circus imagery, heralded the rich possibilities of Matisse's new endeavour. The "Jazz" cut-outs were essentially book illustrations but over the five years that followed Matisse produced cut-outs of increasing size and complexity, ambitious, independent compositions on a variety of themes, including the famous "Blue Nudes" (1950-1952) and the enormous "Sadness of the King" (1952) of which Matisse said he was as proud as any of his paintings. Towards the end of his life he expressed a wish to have these late works published as prints in a series which would form a companion to "Jazz". Accordingly, in his final year he supervised the production of 39 colour lithographs, created at the Mourlot Studio in Paris, which were published by Tériade in a limited edition shortly after his death. Our collection of cut-outs is taken from this work.
Artist: Henri Matisse (1869-1954)
Title: "The Last Works of Matisse", 1958
Reference: Duthuit No. 139, "Catalogue Raisonné Des Ouvrages Illustrés"
Medium: Colour lithographs after the original cut-paper maquettes.
Sheet size: 350 x 260mm (13 3/4 x 10 1/4 inches)
Framed size: 530mm x 430mm (21 x 17 inches)
Edition size: 2000 copies on wove paper. Printed signature and/or date on some of the lithographs.
Conditon: Very good.
- Creator:Henri Matisse (1869-1954, French)
- Creation Year:1958
- Dimensions:Height: 21 in (53.34 cm)Width: 17 in (43.18 cm)Depth: 1 in (2.54 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Richmond, GB
- Reference Number:
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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