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Sur l'arc vert, 1945-46
Lithograph •
Unsigned •
38cm
x
28cm
SKU: HM-71406
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Matisse was born in 1869 in Northern France. By 1891 he had abandoned his law degree and started to paint. In Paris, Matisse studied art briefly at the Académie Julian and the Ecole des Beaux-Arts. He embraced a new range of influences, abandoning the Impressionistic palette and establishing his own style with brilliant colour and fluid line. His subjects were primarily women, interiors, and still lifes.
From the early 1920s until 1939, Matisse divided his time between the South of France and Paris. While recuperating from two major operations in 1941 and 1942, he concentrated on a technique he had devised earlier, ‘papiers découpés’ (paper cutouts), which would prove hugely influential, and was one of the first painters to take an interest in “primitive” art. He died on November 3, 1954, in Nice.
From the early 1920s until 1939, Matisse divided his time between the South of France and Paris. While recuperating from two major operations in 1941 and 1942, he concentrated on a technique he had devised earlier, ‘papiers découpés’ (paper cutouts), which would prove hugely influential, and was one of the first painters to take an interest in “primitive” art. He died on November 3, 1954, in Nice.
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About the work
About the Work
Poésies Antillaises is a beautiful example of the extraordinary gift for drawing, the ability to incorporate and to express so much through line reduced to its simplest form, which was one of Matisse's greatest legacies to 20th century art.
In 1945, following the success of his series of lithographs under the titles Visages, inspired by Reverdy's poetry, Matisse began working with several exotic models, mostly Polynesian, to prepare illustrations for an ambitious suite of lithographs that he hoped to do in homage to his friend, the poet John-Antoine Nau.
Nau's poetry took its themes from voyages in the Antilles and in particular to Martinique where the facial sculpture of women from the Islands, with their exoticism and richness, was a great inspiration.
Matisse completed and proofed all the stones for the Poésies Antillaises series in 1945-46 which, in a letter to Mourlot, he called striking and superb. However for some reason the actual edition of the album was not pulled at that time. The work was finally published in 1972 by the Paris lithographer Fernand Mourlot, who scrupulously followed both Matisse's maquettes and his final corrected proofs.
In 1945, following the success of his series of lithographs under the titles Visages, inspired by Reverdy's poetry, Matisse began working with several exotic models, mostly Polynesian, to prepare illustrations for an ambitious suite of lithographs that he hoped to do in homage to his friend, the poet John-Antoine Nau.
Nau's poetry took its themes from voyages in the Antilles and in particular to Martinique where the facial sculpture of women from the Islands, with their exoticism and richness, was a great inspiration.
Matisse completed and proofed all the stones for the Poésies Antillaises series in 1945-46 which, in a letter to Mourlot, he called striking and superb. However for some reason the actual edition of the album was not pulled at that time. The work was finally published in 1972 by the Paris lithographer Fernand Mourlot, who scrupulously followed both Matisse's maquettes and his final corrected proofs.
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