Henri Matisse posters, prints and serigraphs.



Henri Matisse
Henri mile Benoit Matisse was a French artist, leader of the Fauve group, regarded as one of the great formative figures in 20th-century art, a master of the use of color and form to convey emotional expression. Henri Matisse was born in December of 1869 in Le Cateau, France. He began painting during a convalescence from an operation, and in 1891 moved to Paris to study art. Matisse became an accomplished painter, sculptor and graphic designer, and one of the most influential artists of the 1900s. Matisse was born the son of a middle-class family, he studied and began to practice law. In 1890, however, while recovering slowly from an attack of appendicitis, he became intrigued by the practice of painting. In 1892, having given up his law career, he went to Paris to study art formally. His first teachers were academically trained and relatively conservative; Matisse's own early style was a conventional form of naturalism, and he made many copies after the old masters. He also studied more contemporary art, especially that of the impressionists, and he began to experiment, earning a reputation as a rebellious member of his studio classes. Matisse's true artistic liberation, in terms of the use of color to render forms and organize spatial planes, came about first through the influence of the French painters Paul Gauguin and Paul Cezanne and the Dutch artist Vincent van Gogh, whose work he studied closely beginning about 1899. Then, in 1903 and 1904, Matisse encountered the pointillist painting of Henri Edmond Cross and Paul Signac. Cross and Signac were experimenting with juxtaposing small strokes (often dots or "points") of pure pigment to create the strongest visual vibration of intense color. Matisse adopted their technique and modified it repeatedly, using broader strokes. By 1905 he had produced some of the boldest color images ever created, including a striking picture of his wife, Green Stripe (Madame Matisse) (1905, Statens Museum for Kunst, Copenhagen). The title refers to a broad stroke of brilliant green that defines Madame Matisse's brow and nose. In the same year Matisse exhibited this and similar paintings along with works by his artist companions, including Andre Derain and Maurice de Vlaminck. Together, the group was dubbed les fauves (literally, "the wild beasts") because of the extremes of emotionalism in which they seemed to have indulged, their use of vivid colors, and their distortion of shapes. While he was regarded as a leader of radicalism in the arts, Matisse was beginning to gain the approval of a number of influential critics and collectors, including the American expatriate writer Gertrude Stein and her family. Among the many important commissions he received was that of a Russian collector who requested mural panels illustrating dance and music (both completed in 1911; now in the Hermitage, Saint Petersburg). Such broadly conceived themes ideally suited Matisse; they allowed him freedom of invention and play of form and expression. His images of dancers, and of human figures in general, convey expressive form first and the particular details of anatomy only secondarily. Matisse extended this principle into other fields; his bronze sculptures, like his drawings and works in several graphic media, reveal the same expressive contours seen in his paintings. Although intellectually sophisticated, Matisse always emphasized the importance of instinct and intuition in the production of a work of art. He argued that an artist did not have complete control over color and form; instead, colors, shapes, and lines would come to dictate to the sensitive artist how they might be employed in relation to one another. He often emphasized his joy in abandoning himself to the play of the forces of color and design, and he explained the rhythmic, but distorted, forms of many of his figures in terms of the working out of a total pictorial harmony. From the 1920s until his death, Matisse spent much time in the south of France, particularly Nice, painting local scenes with a thin, fluid application of bright color.In his old age, he was commissioned to design the decoration of the small Chapel of Saint-Marie du Rosaire at Vence (near Cannes), which he completed between 1947 and 1951. Often bedridden during his last years, he occupied himself with decoupage, creating works of brilliantly colored paper cutouts arranged casually, but with an unfailing eye for design, on a canvas surface. Matisse died in Nice on November 3, 1954. Unlike many artists, he was internationally popular during his lifetime, enjoying the favor of collectors, art critics, and the younger generation of artists. Matisse's work reflects a number of influences: the decorative quality of Near Eastern art, the stylized forms of the masks and sculpture of African, the bright colors of the French impressionists, and the simplified forms of French artist Paul Cezanne and the cubists. The art of our century has been dominated by two men: Henri Matisse and Pablo Picasso. They are artists of classical greatness, and their visionary forays into new art have changed our understanding of the world. Matisse was the elder of the two, but he was a slower and more methodical man by temperament and it was Picasso who initially made the greater splash. Matisse, like Raphael, was a born leader and taught and encouraged other painters, while Picasso, like Michelangelo, inhibited them with his power: he was a natural czar. Matisse's artistic career was long and varied, covering many different styles of painting from Impressionism to near Abstraction. Early on in his career Matisse was viewed as a Fauvist, and his celebration of bright colors reached its peak in 1917 when he began to spend time on the French Riviera at Nice and Vence. Here he concentrated on reflecting the sensual color of his surroundings and completed some of his most exciting paintings. In 1941 Matisse was diagnosed as having duodenal cancer and was permanently confined to a wheelchair. It was in this condition that he completed the magnificent Chapel of the Rosary in Vence. Matisse's art has an astonishing force and lives by innate right in a paradise world into which Matisse draws all his viewers. He gravitated to the beautiful and produced some of the most powerful beauty ever painted. He was a man of anxious temperament, just as Picasso, who saw him as his only rival, was a man of peasant fears, well concealed. Both artists, in their own fashion, dealt with these disturbances through the sublimation of painting: Picasso destroyed his fear of women in his art, while Matisse coaxed his nervous tension into serenity. He spoke of his art as being like "a good armchair"-- a ludicrously inept comparison for such a brilliant man-- but his art was a respite, a reprieve, a comfort to him. Matisse initially became famous as the King of the Fauves, an inappropriate name for this gentlemanly intellectual: there was no wildness in him, though there was much passion. He is an awesomely controlled artist, and his spirit, his mind, always had the upper hand over the "beast" of Fauvism. The experimental years Matisse's Fauvist years were superseded by an experimental period, as he abandoned three-dimensional effects in favor of dramatically simplified areas of pure color, flat shape, and strong pattern. The intellectual splendor of this dazzlingly beautiful art appealed to the Russian mentality, and many great Matisses are now in Russia. One is The Conversation (1909; 177 x 217 cm (5 ft 9 3/4 in x 7 ft 1 1/2 in)) in which husband and wife converse. But the conversation is voiceless. They are implacably opposed: the man-- a self portrait-- is dominating and upright, while the woman leans back sulkily in her chair. She is imprisoned in it, shut in on all sides. The chair's arms hem her in, and yet the chair itself is almost indistinguishable from the background: she is stuck in the prison of her whole context. The open window offers escape; she is held back by an iron railing. He towers above, as dynamic as she is passive, every line of his striped pyjamas undeviatingly upright, a wholly directed man. His neck thickens to keep his outline straight and firm, an arrow of concentrated energy. The picture cannot contain him and his head continues beyond it and into the outside world. He is greater that it all, and the sole "word" of this inimical conversation is written in the scroll of the rail: Non. Does he say no to his intensity of life? They deny each other forever. Supreme decoration But denial is essentially antipathetic to Matisse. He was a great celebrator, and to many his most characteristic pictures are the wonderful odalisques he painted in Nice (he loved Nice for the sheer quality of its warm, southern light). Though such a theme was not appreciated at the time, it is impossible for us to look at Odalisque with Raised Arms (1923; 65 x 50 cm (25 1/2 x 19 3/4)) and feel that Matisse is exploiting her. The woman herself is unaware of him, lost in private reverie as she surrenders to the sunlight, and she, together with the splendid opulence of her chair, he diaphanous skirt, and the intricately decorated panels on either side, all unite in a majestic whole that celebrates the glory of creation. It is not her abstract beauty that attracts Matisse, but her concrete reality. He reveals a world of supreme decoration: for example, the small black patches of underarm hair on the odalisque are almost a witty inverted comma mark round the globes of her breasts and the rose pink center of each nipple. Sculpting in paper Picasso and Matisse were active to the end of their lives, but while Picasso was preoccupied with his ageing sexuality, Matisse moved into a period of selfless invention. In this last phase, too weak to stand at an easel, he created his papercuts, carving in colored paper, scissoring out shapes, and collaging them into sometimes vast pictures. These works, daringly brilliant, are the nearest he ever came to abstraction. Beasts of the Sea (1950; 295.5 x 154 cm (9 ft 8 in x 5 ft 1/2 in)) gives a wonderful underwater feeling of fish, sea cucumbers, sea horses, and water-weeds, the liquid liberty of the submarine world where most of us can never go. Its geometric rightness and chromatic radiance sum up the two great gifts of this artist and it is easy to see why he is the greatest colorist of the 20th century. He understood how elements worked together, how colors and shapes could come to life most startingly when set in context: everything of Matisse's works together superbly. Nu Bleu I by Henri Matisse, Blue Nude by Henri Matisse, Lutece, Le Coeur De Paris by Henri Matisse, Wild Poppies by Henri Matisse, Goldfish 1911 by Henri Matisse, Icarus, from ''Jazz'' by Henri Matisse Handkerchief (embossed) by Henri Matisse, Purple Robe and Anemones, 1937 by Henri Matisse, Interior in Yellow and Blue, 1946 by Henri Matisse, Nude in a White Turban by Henri Matisse, Goldfish by Henri Matisse, Large Red Interior by Henri Matisse, La Danseuse Creole by Henri Matisse, Blue Nude I, II, and III (serigr... by Henri Matisse, Jazz Icarus by Henri Matisse, Sleeping Model (embossed) by Henri Matisse, Harmony in Yellow by Henri Matisse, The Heart by Henri Matisse, View of Collioure and the Sea by Henri Matisse, Sorrows of the King by Henri Matisse, Fenetre a Tahiti by Henri Matisse, Dance I by Henri Matisse, Spanish Still Life by Henri Matisse, Beasts of the Sea by Henri Matisse, Jazz, le Cheval, l`Ecuy`ere et l... by Henri Matisse, Anemones by Henri Matisse, La Fleur (serigraph on special p... by Henri Matisse, Interior, Flowers and Parakeets,... by Henri Matisse, 11x14 Fine-Art Print, A Thousand and One Nights by Henri Matisse 49x19 Fine-Art Print, Nu Bleu II by Henri Matisse, The Open Window, Collioure, 1905 by Henri Matisse, Interior with a Violin Case by Henri Matisse, Goldfish by Henri Matisse, Birds on Blue (serigraph on spec... by Henri Matisse, Vue de la Fenetre, Tanger by Henri Matisse, Nu Bleu I by Henri Matisse, Citrons sur fond Rose Fleurdelis... by Henri Matisse, Still Life with Magnolia by Henri Matisse, Ice Skaters ''Gliding Start'' (s... by Henri Matisse, Interior with Phonograph by Henri Matisse, Fleurs de Madeleine by Henri Matisse, The Codomas by Henri Matisse, Polynesie le Ciel by Henri Matisse, Still Life of Sleeping Lady by Henri Matisse, La Vague by Henri Matisse, Vase of Nasturiums with Dance II by Henri Matisse, Blue Nude III by Henri Matisse, Sketch for the Dance by Henri Matisse, Pasiphae (serigraph) by Henri Matisse, Music, 1939 by Henri Matisse, Woman in a Purple Coat, 1937 by Henri Matisse, Goldfish, 1912 by Henri Matisse, La Tristesse du Roi by Henri Matisse, Pot of Geraniums by Henri Matisse, Icarus by Henri Matisse, Femmes et Singes by Henri Matisse, Le Cirque by Henri Matisse, The Hair by Henri Matisse, The Snail by Henri Matisse, Femme a L'Amphore by Henri Matisse, Le Lanceur de Coteaux by Henri Matisse, Goldfish Bowl by Henri Matisse, Dance I by Henri Matisse, La Chute d'Icare by Henri Matisse, Lilies, Irises and Mimosas by Henri Matisse, Corbeille d'Oranges by Henri Matisse, La Dance by Henri Matisse, Woman by a Window by Henri Matisse, Landscape at Collioure by Henri Matisse, Pink Nude by Henri Matisse, Fenetre a Tanger by Henri Matisse, Composition Fond Bleu by Henri Matisse, The Dance by Henri Matisse, Yellow Roses with Cage of Parakeets by Henri Matisse, Nu Bleu IV by Henri Matisse, isse, Casbah Gate, Tangier by Henri Matisse, The Window by Henri Matisse, Reclining Nude with Blue Eyes by Henri Matisse, Small Blue Room by Henri Matisse, Woman Seen from the Back by Henri Matisse, Materworks of Art - Matisse - St... by Henri Matisse, Still Life with Tablecloth by Henri Matisse, The Flight of Icarus by Henri Matisse, La Danse by Henri Matisse, Reclining Nude in a White Dress by Henri Matisse, Le Lanceur de Courteaux by Henri Matisse, The Toboggan by Henri Matisse, Acrobate, 1952 by Henri Matisse, Femmes et Singes (serigraph) by Henri Matisse, La Tristesse du Roi by Henri Matisse, Ivy in Flower, 1953 by Henri Matisse, Jazz by Henri Matisse, Woman Beside the Water by Henri Matisse 11x14 Fine-Art Print,Fleurs et Fruits, 1952-53 by Henri Matisse, Odalisque au Fauteuil by Henri Matisse, Nature Morte by Henri Matisse, Window Over Tangiers by Henri Matisse, Tulipes et Huitres sur Fond Noir by Henri Matisse, Still Life, Histoire Juives by Henri Matisse, Still Life with Vase of Flowers ... by Henri Matisse, Cyclamen Pourpre by Henri Matisse, Nu Aux Oranges by Henri Matisse, Le Chapeau du Roses by Henri Matisse, Femme au Repos, 1936 (serigraph ... by Henri Matisse, Le Cauchemar de L`Elephant Blanc by Henri Matisse, Girl with Green Eyes by Henri Matisse, The King's Sadness by Henri Matisse, Fruchtestilleben, 1910 by Henri Matisse, Still Life of Fruit and a Bronze... by Henri Matisse, Jazz, le Cirque by Henri Matisse, Jazz, l`Enterrement de Pierrot by Henri Matisse, The Door of the Casbah, 1912 by Henri Matisse, Femme Au Chapeau by Henri Matisse, The Red Fish by Henri Matisse, Polynesia by Henri Matisse, Stilleben by Henri Matisse, White Palm on Blue (serigraph on... by Henri Matisse, La Danse by Henri Matisse, Jeune Fille Assise, Robe Persane by Henri Matisse, Histoire Juives by Henri Matisse, Woman's Profile - Left (embossed) by Henri Matisse, Bathing in the Reeds (serigraph) by Henri Matisse, The Clown, from ''Jazz'' by Henri Matisse, Blue Nude with Green Stockings, Jeune Fille Avec Tiare by Henri Matisse, Odallisque a la Coulotte by Henri Matisse, Femmes et Singes (serigraph on s... by Henri Matisse, Black Sketch by Henri Matisse, Tea by Henri Matisse, Interior with Black Fern by Henri Matisse, Interior with Egyptian Curtain by Henri Matisse, La Tristesse du Roi by Henri Matisse, Stilleben, 1911 by Henri Matisse, Yellow and Blue Interior (offset... by Henri Matisse, La Chute d'lcare (serigraph on s... by Henri Matisse, Madame de Pompadour by Henri Matisse, Nature Morte au Lierre by Henri Matisse, Nu Au Bracelet by Henri Matisse, Nature Morte A by Henri Matisse, La Seance de Peinture by Henri Matisse,The Cowboy by Henri Matisse, Nuit de Noel by Henri Matisse, Bronze e Fruits by Henri Matisse, Femme a l'Amphore by Henri Matisse, Le Grand Interieur Rouge by Henri Matisse, Portrait Blouse Romaine by Henri Matisse, Geranium in a Vase, 1915-16 by Henri Matisse, Windows a Tangier by Henri Matisse, Etude de Femme, 1940 (serigraph ... by Henri Matisse, Ivy in Flower by Henri Matisse, Femme Assise by Henri Matisse, The Inattentive Reader by Henri Matisse, Blick aus dem Fenster, Tanger, 1912 by Henri Matisse, Interieur, Nice, 1919 by Henri Matisse, Le Lanceur de Coteaux by Henri Matisse, Algue Blanche by Henri Matisse, Le Jabot Bleu by Henri Matisse, Nu aux Yeux Bleus by Henri Matisse, Blue Hair (serigraph on special ... by Henri Matisse

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