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This profile was last updated on 12/4/12  and contains information from public web pages.

Succession H. Matisse

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Sculptor

Matisse
 
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34 Total References
Web References
archivematisse
www.arttattler.com, 4 Dec 2012 [cached]
Henri Matisse (French, 1869-1954), Young Sailor II, 1906, Oil on canvas, 101.3 x 82.9 cm, The Metropolitan Museum of Art, New York, Jacques and Natasha Gelman Collection (1999.363.41), © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York
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Henri Matisse (French, 1869-1954), Woman on a Divan (Room at the Hotel Mediteranée), 1920-21, Oil on canvas, 60.2 x 73.4 cm, Kunstmuseum Basel, Bequest of Dr. h. c. Richard Doetsch-Benzinger, Basel, 1960, © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Henri Matisse (French, 1869-1954), The Dream, 1940, Oil on canvas, 81 x 65 cm, Private collection, © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Henri Matisse (French, 1869-1954), Interior at Nice (Room at the Hotel Beau-Rivage), 1918, Oil on canvas, 73.7 x 60.3 cm, Philadelphia Museum of Art, A.E. Gallatin Collection, 1952, © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Henri Matisse (French, 1869-1954), The Large Blue Dress, 1937,Oil on canvas, 92.7 x 73.7 cm, Philadelphia Museum of Art, Gift of Mrs. John Wintersteen, 1956, © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Henri Matisse (French, 1869-1954), Interior with Black Fern, 1948, Oil on canvas, 116 x 89 cm, Fondation Beyeler, Riehen/Basel, © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Henri Matisse (French, 1869-1954), Goldfish and Palette, 1914, Oil on canvas, 146.5 x 112.4 cm, The Museum of Modern Art, New York, Gift and bequest of Florene M. Schoenborn and Samuel A. Marx, 1964, © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Henri Matisse (French, 1869-1954), Seated Nude, 1909, Oil on canvas, 115.7 x 89 cm, Pierre and Tana Matisse Foundation, New York, © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Henri Matisse (French, 1869-1954), Nasturtiums with the Painting 'Dance' I, 1912, Oil on canvas, 191.8 x 115.3 cm, The Metropolitan Museum of Art, New York, Bequest of Scofield Thayer, 1982, (1984.433.16), © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Henri Matisse (French, 1869-1954), Young Sailor I, 1906, Oil on canvas, 99.7 x 81.3 cm, Collection of Sheldon H. Solow, © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Henri Matisse (French, 1869-1954), Interior with an Egyptian Curtain, 1948, Oil on canvas, 116.2 x 89.2 cm, The Phillips Collection, Washington, D.C., © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Samuel A. Marx, © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Henri Matisse (French, 1869-1954), Laurette in a Green Robe, Black Background, 1916, Oil on canvas, 73 x 54.3 cm., The Metropolitan Museum of Art, New York, Jacques and Natasha Gelman Collection, 1998 (1999.363.43), © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Henri Matisse (French, 1869-1954), Le Luxe I, 1907, Oil on canvas, 210 x 138 cm, Centre Pompidou, Musée National d'Art Moderne, Paris, Purchase, 1945, © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Henri Matisse (French, 1869-1954), Le Luxe II, 1907-08, Distemper on canvas, 209.5 x 138 cm, Statens Museum for Kunst, Copenhagen, J. Rump Collection, © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Henri Matisse (French, 1869-1954), Still Life with Purro II, 1904-5, Oil on canvas, 27.9 x 35.6 cm, Private collection, © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York.
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92.1 x 140.4 cm, The Baltimore Museum of Art, The Cone Collection, BMA 1950.228. © 2010 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Oil on canvas, 260 x 392 cm, The Art Institute of Chicago, Charles H. and Mary F. S. Worcester Collection, 1953.158. © 2010 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Oil on canvas, 179.1 x 220.3 cm (70 1/2 x 87 3/4 in.) Saint Louis Art Museum, gift of Mr. and Mrs. Joseph Pulitzer Jr., 24:1964. © 2010 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Oil on canvas, 245.1 x 212.7 cm, The Museum of Modern Art, New York, Mrs. Simon Guggenheim Fund, 1946. © 2010 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Oil on canvas, 146.1 x 116.8 cm, The Detroit Institute of Arts, City of Detroit Purchase, 22.14. © 2010 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Oil on canvas, 91 x 74 cm, Private collection. © 2010 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Oil on canvas, 116.7 x 89.5 cm, Solomon R. Guggenheim Museum, New York, by exchange, 1982, 82.2946. © 2010 Succession H. Matisse / Artists Rights Society (ARS), New York.
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Matisse: Radical Invention, 1913-1917 examines the period of Matisse's production from his return to Paris from Morocco in 1913 to his departure for Nice in 1917. Though this period spans only five years, it represents a major turning point in Matisse's career, the years when he developed his most demanding, experimental, and enigmatic works: paintings that are abstracted and rigorously purged of descriptive detail, geometric and sharply composed, and dominated by the colors black and gray. Previously considered to be responses to Cubism or World War I, or simply unrelated aberrations of the artist's development, works from this period are here reassessed and presented as one of the most significant chapters of Matisse's evolution as an artist.
The Art Institute of Chicago and The Museum of Modern Art, New York (MoMA) have co-organized the ambitious exhibition that presents, for the first time, a seminal investigation of a pivotal point in the career of Henri Matisse (1869-1954), one of the 20th century's most significant artists. Matisse: Radical Invention, 1913-1917 premieres at the Art Institute and then travels to MoMA, where it is on view July 18-October 11, 2010. Nearly 120 of the artist's paintings, sculptures, drawings, and prints from this five-year period will be presented, including the masterpieces Bathers by a River (1909-10, 1913, 1916-17) and The Moroccans (1915-16). This is the first exhibition devoted solely to the work of this important period in Matisse's career, thoroughly exploring his early working process as well as his revolutionary experimentation, or what he called his "methods of modern construction."
A highlight of the exhibition is the Art Institute's monumental painting, Bathers by a River. This painting has been the subject of extensive art-historical, archival, and scientific research that unlocks Matisse's working methods. A painting that Matisse worked on repeatedly over a period of many years, Bathers by a River provides the key to the development of the artist's revolutionary style of this time. The subject of study for four years, Art Institute curators and conservators wedded new archival information and new imaging technologies to uncover the history of this painting's evolution and its surprising connections with other works, most significantly The Museum of Modern Art's The Moroccans and The Piano Lesson (1916). MoMA has likewise engaged in an investigation of works in its collection, and, through this partnership, new information about Matisse's experimental techniques.
Building on this research, Matisse: Radical Invention, 1913-1917 showcases a wide range of Matisse's paintings, sculptures, drawings, and prints primarily from 1913 to 1917.
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Matisse: Radical Invention, 1913-1917 explores the critical interplay of Matisse's works and presents his great achievements as the product of this concentrated period of rigorous experimentation. Supplemented by graphic didactic materials and texts as well as audiovisual presentations of the conservation research involved in the project, Matisse: Radical Invention, 1913-1917 redefines our perception of this modern master and his art.
Matisse: Radical Invention, 1913-1917 is accompanied by a lavishly illustrated catalogue published by the Art Institute and distributed by Yale University Press. It will be available early April 2010.
Matisse: Radical Invention, 1913-1917 is curated by Stephanie D'Alessandro, Gary C. and Frances Comer Curator of Modern Art at the Art Institute of Chicago, and John Elderfield, Chief Curator Emeritus of Painting and Sculpture at The Museum of Modern Art, New York.
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Major funding for Matisse: Radical Invention, 1913-1917 is provided by Harris Family Foundation in memory of Bette and Neison Harris.
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Oil on canvas, 116.9 x 88.9 cm, The Art Institute of Chicago
ArtWorldBeat.com Painting, Photography, Sculpture Original Art by Contemporary Artists | Events
www.artis3.com, 22 Dec 2012 [cached]
Henri Matisse (French, 1869-1954). Memory of Oceania. Nice-Cimiez, Hôtel Régina, summer 1952-early 1953. Gouache on paper, cut and pasted, and charcoal on paper mounted on canvas, 9' 4? x 9' 4 7/8? (284.4 x 286.4 cm). The Museum of Modern Art, New York. Mrs. Simon Guggenheim Fund. © 2014 Succession H. Matisse, Paris/Artists Rights Society (ARS), New York
'Matisse: In Search of True Painting' ...
mobile.thesqueeze.net, 13 Feb 2013 [cached]
'Matisse: In Search of True Painting' opens December 4th at the Metropolitan | (detail) Le Luxe II, 1907-08, Statens Museum for Kunst, Copenhagen, J. Rump Collection © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York 'Matisse: In Search of True Painting' opens December 4th...
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(detail) Le Luxe II, 1907-08, Statens Museum for Kunst, Copenhagen, J. Rump Collection © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York
The Metropolitan Museum will be launching the major exhibition 'Matisse: In Search of True Paintingâ€"An Exploration of Matisse’s Painting Process' on December 4th and runs though March 17th 2013. Follow the journey of Henri Matisse through the Met's displays of various pairs, trios and series of paintings, including the recreation of part of his December 1945 exhibition, examining his work and his process in equal measure. Henri Matisse (1869-1954) was one of the most acclaimed artists working in France during the first half of the 20th century. The critic Clement Greenberg, writing in The Nation in 1949, called him a “self-assured master who can no more help painting well than breathing.†Unbeknownst to many, painting had rarely come easily to Matisse. Throughout his career, he questioned, repainted, and reevaluated his work. He used his completed canvases as tools, repeating compositions in order to compare effects, gauge his progress, and, as he put it, “push further and deeper into true painting.†While this manner of working with pairs, trios, and series is certainly not unique to Matisse, his need to progress methodically from one painting to the next is striking. Matisse: In Search of True Paintingwill present this particular aspect of Matisse’s painting process by showcasing 49 vibrantly colored canvases. For Matisse, the process of creation was not simply a means to an end but a dimension of his art that was as important as the finished canvas. Matisse copied old master paintings as part of his academic training. He found much to admire on the walls of the Musée du Louvre yet was also receptive to the contemporary pictures he encountered in Parisian galleries. He was particularly intrigued by the work of Paul Cézanne (1839-1906) and Paul Signac (1863-1935). In 1904-1905 Matisse arranged a still life and painted it in two different ways. The green and violet clusters of diagonally placed brushstrokes in Still Life with Purro I (1904, private collection) evoke passages in certain of Cézanne’s paintings, while the vivid colors and confetti-like effects of Still Life with Purro II (1904-1905, private collection) are derived from Signac. Matisse borrowed stylistic elements from the two artists but was more interested in rendering his own sensations than subscribing to either of their theories. Matisse’s stylistic exploration sparked the creation of pairs in which neither painting is entirely indebted to another artist. Upon his return to the fishing village of Collioure in the summer of 1906, he depicted a local teenager in a work that has all the hallmarks of his own vividly colored, expressive Fauvism (Young Sailor I, 1906, Collection of Sheldon H. Solow). He then painted a second version of the composition on an identically sized canvas, this time employing flat color and deformation to produce a drastically different effect (Young Sailor II, 1906, The Metropolitan Museum of Art). Unsure of his new direction, Matisse told friends that Young Sailor II had been painted by the local postman. Matisse later explained that his aim was to “condense the meaning of [a] body by seeking its essential lines.†Over the next 10 years, Matisse approached his pairs in a variety of ways.
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Painting sessions with the sensual Italian model Laurette over a period of six or seven months in 1916-17 were instrumental in reorienting Matisse as he abandoned the restrictions inherent in painting in pairs and fully embraced larger series (Laurette in a Green Robe, Black Background, 1916, The Metropolitan Museum of Art; Laurette Seated on a Pink Armchair, 1916, private collection; Meditation (Portrait of Laurette), 1916-17, The Museum of Fine Arts, Houston). Matisse’s enthusiasm for working in series coincided with his revived interest in Impressionism. It was on his mind when he attempted to capture the essence of a light-filled room in a series of canvases painted in Nice in the winter and spring of 1917â€"18â€"Interior at Nice (Room at the HÃ'tel Beau-Rivage) (Philadelphia Museum of Art), The Open Window (Room at the HÃ'tel Beau-Rivage) (private collection),Interior with a Violin (Room at the HÃ'tel Beau-Rivage) (Statens Museum for Kunst). And it was on his mind again when he painted the distinctive cliffs of Étretat in 1920â€"in Large Cliffâ€"Fish (The Baltimore Museum of Art), Large Cliff-Two Rays (Norton Museum of Art), and Large Cliffâ€"Eel (The Columbus Museum of Art). In the 1930s Matisse hired a photographer to document his progress on certain paintings. His model and studio assistant Lydia Delectorskaya recalled that the photographer was called in “when, at the end of a session, it seemed to Matisse he had come to the end of his work or he decided he had arrived at a significant stage….†Instead of setting his canvas aside and repeating the composition on a new canvas of identical size, as he had done in the 1900s and 1910s, Matisse used the photographs to preserve states of his paintings. He consulted them as he worked, comparing them to the painting in order to see whether he had advanced or regressed. In December 1945, six recent paintings by Matisse were displayed at the Galerie Maeght in Paris. Each was juxtaposed with large framed photographs documenting its evolution. The photographs are not depictions of related works; they trace the evolution of the canvas they surround. Matisse embraced the opportunity to put his process on display and in so doing, dispelled the notion that he worked spontaneously. He insisted that the only point of the exhibition was to present “the progressive development of the artworks through their various respective states toward definitive conclusions and precise signs.†By agreeing to make the photographs public, Matisse tacitly acknowledged that their presence added to the viewers’ understanding and appreciation of his work. The Metropolitan Museum’s exhibition will recreate three walls of the Galerie Maeght exhibition, featuring La France(1939, Hiroshima Museum of Art), The Dream (1940, private collection), and Still Life with Magnolia (1941, Centre Pompidou, Musée National d’Art Moderne, Paris). The theme of the studio interiorâ€"a consistent motif in Matisse’s oeuvre throughout his careerâ€"was addressed in Matisse’s final painted series, created from 1944 to 1948 at the Villa Le Rêve in Vence, France. The septuagenarian artist felt that a lifetime of work had prepared him to use color as a means of intimate expression. In the spring of 1948, he wrote to his son Pierre that his most recent paintings “impress everyone who has seen them because they are vivid and rich.†Interior with an Egyptian Curtain (1948, The Phillips Collection, Washington, D.C.), Interior with Black Fern (1948, Fondation Beyeler, Riehen/Basel), and Large Red Interior (1948, Centre Pompidou, Musée National d’Art Moderne, Paris) made their public debut in February 1949 at Pierre Matisse’s New York gallery, where they were displayed unframed so that visitors would feel embraced and then transported by the color. The critic Clement Greenberg was not alone in concluding that “Matisse is at the present moment painting as well as he ever has painted before, and in some respects perhaps, even better.†Matisse: In Search of True Painting is organized at The Metropolitan Museum of Art by Rebecca Rabinow, Curator in the Museum’s Department of Modern and Contemporary Art.
Henri Matisse, Large Seated Nude, 1922-29; ...
www.sfmoma.org, 12 April 2007 [cached]
Henri Matisse, Large Seated Nude, 1922-29; Collection The Baltimore Museum of Art, The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland. © 2007 Succession H. Matisse, Paris/Artists Rights Society (ARS), New York
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From June 9 through September 16, 2007, the San Francisco Museum of Modern Art (SFMOMA) will present the exhibition, Matisse: Painter as Sculptor, the first major U.S. examination of Henri Matisse's sculpture in nearly 40 years.
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Henri Matisse, Large Seated Nude, 1922-29; Collection The Baltimore Museum of Art, The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland. © 2007 Succession H. Matisse, Paris/Artists Rights Society (ARS), New York
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In conjunction with the exhibition, a fully illustrated catalogue, Matisse: The Painter as Sculptor, has been coproduced with Yale University Press.The catalogue presents new scholarship through a series of essays offering insights into Matisse's sculptural work: Steven Nash discusses Matisse's patronage and the reception of his sculpture in America; Dorothy Kosinski probes the art historical context of Matisse's sculpture in dialogue with tradition and the avant-garde; Oliver Shell examines the artist's ideas about the viewing of his sculpture, as revealed by his deliberate placement of sculpture in exhibitions; Shell and Ann Boulton, Baltimore Museum of Art objects conservator, summarize technical studies undertaken while they held a joint fellowship at the Center for Advanced Study in the Visual Arts at the National Gallery of Art; and Jay McKean Fisher explores the use of drawing in the evolution of Matisse's sculptural ideas.
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A self-guided audio tour is available, featuring guides to Matisse: Painter as Sculptor and the SFMOMA collection.Scholars and conservators discuss Matisse's sculptural process while contemporary sculptors provide their own takes on Matisse's artistic inventiveness.
Henri Matisse, 'Reclining Nude I ...
www.thegallerychannel.com, 22 Mar 2007 [cached]
Henri Matisse, 'Reclining Nude I (Aurora)', 1907, Bronze. 13 9/16 × 19 5/8 × 11 in. (34.4 × 49.9 × 27.9 cm) The Baltimore Museum of Art, The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland. BMA 1950.429. © 2007 Succession H. Matisse, Paris/Artists Rights Society (ARS), New York
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BMA 1950.429. © 2007 Succession H. Matisse, Paris/Artists Rights Society (ARS), New York
Matisse: Painter as Sculptor is organized thematically around a core group of more than 40 of Matisse's great sculptural masterworks, which will be complemented with a selection of related works on paper, paintings, and original photographs of the artist at work.These integrated groupings will help to illuminate the evolution of Matisse's sculptural ideas and creative process, and reveal the dialogue between the two-dimensional and three-dimensional in his oeuvre.For instance, the bronze sculpture Reclining Nude I (Aurora), 1907, will be exhibited alongside the majestic painting Blue Nude: Memory of Biskra (1907), a canvas that Matisse was painting during a key and difficult moment in the modeling of the sculpture.The painted and sculpted representations of the reclining female nude evolved together and were inextricably linked.Other exhibition highlights include the bronze sculptures Madeleine I and Madeleine II (1901 and 1903), the five portrait busts of Jeannette (1910-1914), and the monumental series of four bronze reliefs known as The Backs (1909-1930), Matisse's most sustained exploration of the reduction and abstraction of the human form.
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"The exhibition presents a chronological trajectory of the great master's work, with an emphasis on process and the relationship between media, and encourages viewers to reevaluate their understanding of Matisse and his art," said Dorothy Kosinski, Senior Curator of Painting and Sculpture and The Barbara Thomas Lemmon Curator of European Art at the Dallas Museum of Art.
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The exhibition will present groundbreaking technical research that sheds light on Matisse's sculptural process, both in the studio and in the foundry, and on the slight variations in scale and form of his great works in series.Comparative studies of specific sculptures were made using a laser scanning process, which allows for minute comparisons of different casts of the same work of art (for instance, Matisse's Madeleine I and Madeleine II).These scans have been transformed into animated, interactive computer models that will be featured in the exhibition, offering visitors a better sense of how Matisse worked from one sculpture to another in a series and how he approached the casting of his sculptures in bronze.
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