The sculpture of matisse (art ebook)

THE SCULPTURE OF MATISSE

A Gift to t*# THE HUNTINGTON war

ART REFERENCE LIBRARY CONSTANCE M. PERKINS

/

took up sculpture because what interested

was a

in painting

my

changed

my

clarification of

method, and worked

ideas. I

in clay in

order to have a rest from painting where

done

say that

it

ization, to

helped

had is

to

was done for the purposes of organput order into

a style to suit me. it

I

could for the time being. That

all I

me

me

in

my

feelings,

When I found

my

it

and

find

in sculpture,

painting. It was always in

view of a complete possession of sort of hierarchy of all

my

my

mind, a

sensations, that

I

kept working in the hope of finding an ultimate

method,

henri matisse

1

Alicia

Legg

THE SCULPTURE OF MATISSE

The Museum

of

Modern

Art,

New York

:

Trustees of

Copyright

Š

1972 by The

Museum

of

Modern Art

Number 73-188667

Library of Congress Catalog Card 0-87070-448-6

Designed by James

11

West 53

of

David Rockefeller, Chairman of the Board; Henry Allen Moe.

S.

Paley, President ;

J.

Frederic Byers

James Thrall Soby. Mrs.

III,

Bliss Parkinson.

Vice Presidents; Willard C. Butcher.

Walter Bareiss, Robert R. Barker. Alfred H. Barr.

Jr.,*

Mrs.

Armand P. Bartos. William A. M. Burden, Ivan Chermayeff.

Dr. Mamie Phipps Clark, Mrs. W. Murray Crane,* John de

Modern Art

Street,

Modern Art

Treasurer; Robert 0. Anderson, Mrs. Douglas Auchincloss.

Wageman

Printed in the United States of America

The Museum

of

John Hay Whitney. Gardner Cowles, Vice Chairmen; William

All rights reserved

ISBN

The Museum

New York, N.Y.

10019

Menil. Mrs. C. Douglas Dillon. William H. Donaldson. Mrs.

Edsel B. Ford, Gianluigi Gabetti. George Heard Hamilton.

Schedule of the Exhibition

The Museum

of

Modern

February 24-May

8,

Art,

Wallace K. Harrison,* Mrs. Walter Hochschild.* James W.

New York

6.

John

L. Loeb.

Mrs. G. Macculloch Miller.*

Walker Art Center, Minneapolis June 20-August

Husted.* Philip Johnson. Mrs. Frank Y. Larkin, Eric Larrabee, Gustave L. Levy.

1972

J.

Ranald H. Macdonald.*

Irwin Miller, Mrs. Charles

S.

Payson,* Gifford Phillips. Mrs. John D. Rockefeller 3rd, Nel-

1972

son A. Rockefeller. Mrs. Wolfgang Schoenborn. Mrs. Bertram University Art

Museum,

September 18-October

University of California, Berkeley

29, 1972

N. Thayer,

Front and back covers: La Serpentine. 1909.

Frontispiece:

Edward

Steichen. Henri Matisse

(and "La Serpentine" ), Issy-les-Moulineaux. 1909.

The Museum

of

Modern

Art,

New

Smith. Mrs. Alfred R. Stern. Mrs. Donald B. Straus. Walter

York.

Edward M. M. Warburg.*

Monroe Wheeler* *Honorary Trustee

for Life

Clifton R.

Wharton.

Jr..

Contents

Acknowledgments

7

The Sculpture

9

of Matisse

Notes

46

Sculptures by Matisse Seen in His Paintings

47

List of Exhibitions

48

Catalogue of the Exhibition

50

Lenders to the Exhibition

Mr. and Mrs. James

S.

Adams, Dr. and Mrs. Harry Bakwin.

Mr. and Mrs. Walter Bareiss, Mr. and Mrs. Sidney F. Brody, Harry I. Caesar, Mr. and Mrs. Ralph F. Colin, Mr. and Mrs. Nathan Cummings, Mr. and Mrs. Richard S. Davis, Mr. and Mrs. Lee V. Eastman, Mr. and Mrs. Allan

D. Emil, Joseph H. Hirshhorn Collection, Mr. and Mrs.

Paul Kantor, Mr. and Mrs. Fritz Katz, Mrs. Melville Kolliner, Mrs. thal,

The

M. Victor

J.

Leventritt. Mrs. Philip N. Lilien-

Jeffrey H. Loria Collection, Lewis Manilow. Jean

Matisse, Pierre Matisse. Frank Perls, Nelson A. Rockefeller,

Florene M. Schoenborn and Samuel A.

Marx

Collection,

Mrs. Bertram Smith, Mr. and Mrs. Edward M. M. Warburg.

Joy

S.

Weber, Mr. and Mrs. Benjamin Weiss. Mr. and Mrs.

Howard

A. Weiss

The Baltimore Museum

of Art:

The Art

Institute of

Chicago; Weatherspoon Art Gallery, The University of at Greensboro; Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York; The Minneapolis Institute of Arts; The Museum of Modern Art, New York; Musee Matisse. Nice; The Philip H. and

North Carolina

A. S.

W Rosenbach

cisco

Museum

Foundation, Philadelphia; San Fran-

of Art; Stanford University

Stanford, California

Robert Elkon Gallery.

New York

Museum

of Art,

Acknowledgments

It is

a pleasure to express

the Trustees of

my

The Museum

appreciation, and that of

of

Modern

Art; the Walker

Art Center, Minneapolis: and the University Art Muse-

um, University

of California, Berkeley to the Matisse

family for their cooperation in the preparation of this exhibition.

The

artist's

daughter,

Madame Georges

tions,

and was kind enough

to give

me

access to the

manuscript and photographs for his forthcoming book.

The Sculpture of Henri Matisse.

The collaboration of many Museum departments essential in a project of this nature,

members

too

numerous

Among my

to

and the help of

mention

is

is

staff

gratefully ac-

Duthuit, and sons, Jean Matisse and Pierre Matisse

knowledged.

have been patient and understanding

support have been invaluable are William S. Lieberman

frequent requests for information

in replying to

and generous in

providing loans. Very special thanks are owed to the lenders

names to

—

collectors,

museums, and

galleries

are listed on page 6, as well as those

—

whose

who wish

remain anonymous. The advice and assistance of

Frank Perls and Pierre Schneider have been extremely helpful. Others

who have aided

securing loans are Mrs.

in locating

works and

Use Gerson. Mrs. Cynthia

McCabe, Abram Lerner. and

B.

C.

Matisse scholars whose works have led coveries are Alfred H. Barr,

Jr.,

Holland. to

my own

Two dis-

and Albert E. Elsen.

Mr. Barr's book. Matisse: His Art and His Public, continuously reveals

new

aspects of this great twentieth-

century master: Professor Elsen

made

valuable sugges-

who

first

colleagues whose interest and

proposed the show a number of years ago:

Helen M. Franc, William

S.

McShine, whose suggestions

for the text

tive

Rubin, and Kynaston

were construc-

and imaginative: and Harriet Schoenholz Bee. who

edited this publication. Others to

whom

I

am

indebted

are Cora Rosevear, for research and help with the installation;

Jane Adlin. for the varied secretarial work that

goes into the preparation of an exhibition and catalogue: Judith Di

Meo,

for

French translations: Jean-

Edith WeifTenbach, for arranging the transportation of the works, and recording them; Charles tion Supervisor, for advice,

cuting the

many

installation.

steps in

all

and

Froom, Produc-

his associates for exe-

phases of the exhibition's

Alicia Legg, Director of the Exhibition

Profile of a

Woman. 1894.

9%"

d.

Copy

after Barye's

a Hare.

Profile of a

Woman. 1894.

9%"

Jaguar Devouring

1899-1901. 9"

Bust of a Woman. 1900.

Copy

Horse. 1901.

6%"

h.

h.

h.

d.

Study of a Foot. 1900.

24V2 "

11%"

h.

after Puget's Ecorche. 1903. 9" h.

The Sculpture

The

first

ture

was held

of Matisse

Matisse exhibition devoted primarily to sculpin

1912

sion Gallery in

New

Back,

I,

at

Alfred Stieglitz's Photo-Seces-

York.

The following

The

year,

1909, was included in the "Armory Show" and

since that time, examples of his tures have

more important

been seen periodically

in

sculp-

New York and

in profile, the influences of

a free

pleted in 1901

tional effect

Kunsthaus,

Zurich, in 1959, was virtually complete— all but two of the sixty-nine

the bronzes

prints,

time the

first

full

This improvisa-

misleading, however, in light of the fact

is

worked

for two years on this piece

and

studied the animal's anatomy extensively. Rodin's influence

is

also apparent in

Woman, both

Puget's Ecorche skin leaves bare

Henri-Emile-Benoit Matisse was born December 31,

He was

prepar-

become an

for Rodin's

artist

and went

to Paris to enter the class of at the

Soon disillusioned with academic

Academie

Julian.

instruction, he gained

admission to the studio of Gustave Moreau

Ecole

at the

figure has

were cut

off

agement

of individual expression stimulated Matisse;

the brooding

Moreau

also

Louvre,

whom

he studied and copied.

the

He had

little

formal training as a sculptor: in 1899 he attended eve-

ning sessions in sculpture

at the

Ecole de

after failing to interest

of his drawings, he

worked

la Ville

de

Auguste Rodin

in

for several

months

with Rodin's leading pupil. Antoine Bourdelle. at the

La Grande Chaumiere.

Although Matisse

s first

known

sculptures

(

of

1894

)

)

,

the male figure

muscular structure.

its

whose flayed

4

model Bevilaqua, who had posed

Walking Man. Rodin

1877

youthful, striding

in Matisse's Serf,

whose widespread

to the base.

more emphasis

The arms

to the

forward thrust of

head and protruding abdomen. '"Matisse ... a

sculpture which sprang from

a conception close to that of Rodin,

more rugged and

tremely expressive."

During

in

sit-

above the elbows before the work was

worked laboriously

else,

Serf,

s

muscular legs are firmly rooted

cast, giving

at

1903

matured

des Beaux-Arts. Moreau's liberal attitude and encour-

introduced him to the masters

(

Horse of 1901, and

said that there were over a hundred

it is

tings with the

Adolphe William Bouguereau

Study of a Foot and Bust of

of 1900, a small

Of another and more celebrated sculpture, The 1900—03,

ing for a career in law when, in 1891, he decided to

studios of

in shorthand.

if

another free copy, this one of the standard studio prop.

1869, at Le Cateau-Cambresis (Nord).

some

which the tense drama of the original

captured almost as

that Matisse

com-

I

and some related drawings and

range of Matisse as a sculptor.^

and

in

)

is

a

bringing to the United States for the

Paris,

these

known bronzes and one carved-wood The present exhibition includes

piece were represented. all

Among

copy of Barye's Jaguar Devouring a Hare

number

at the

freestanding modeling.

first efforts at

is

of important exhibitions of Matisse's sculpture

Rodin and Antoine-Louis

Barye, the eminent animal sculptor, are evident in his

other principal American cities. During the 1950s, a

were held. 2 One of these showings,

young woman

are a pair of bas-relief portraits of a

partially misshapen, but ex-

5

Matisse completed two female

this period,

figures; in Madeleine,

early drawings

became something

I,

1901, the rhythmic line of his

and paintings

of the

nude model

is

car-

ried further than in the conventional studio poses.

The

eye

is

led

from the foot

to the

head along an unbroken

The Serf. 1900-03. 37%"

h.

Study for Madeleine. ca. 1901. Pencil

10

Madeleine, 7.1901.

23%" h.

Madeleine

,

//.

1903. 23

V

h.

11

'

Seated Nude with

Arms on Head.

1904. 13"/8 " h.

flowing curve (the folded arms are barely suggested) that imparts a languid grace to the figure.

The same

pose

animated,

is

used in Madeleine,

broken surface

1903, with

its

smooth modeling

in contrast to the

of

Here the arms are folded across the

the earlier version.

and the torso

chest,

II,

is

vibrant with

In painting, Matisse had done

and movement.

life

some

pictures in the

Impressionist style, had studied Turner and Cezanne,

and through Signac, knew the doctrine of Pointillism.

His own of his

style

own

emerged

in

generation,

1905 when, along with

artists

Andre Derain, Maurice Vla-

minck, Albert Marquet, and others, he sent some paint-

dAutomne. The

ings to the Salon

the violent colors

caused a

sensation caused by

and bold brushwork

critic to call

them "Fauves

of these artists

or "wild beasts.

'

Matisse's paintings of this time, Luxe, calme et volupte,

1904-05, and the celebrated Joy of

Life,

1906,

in-

clude figures in poses that were to become the classic repertory in his sculpture— the reclining nude, the upright figure with one knee bent, the crouching figure,

and the gesture of arms raised above the head

as

if

arranging the hair.

During the Fauve period, Matisse completed ber of small figures and heads. Notable ures

is

Torso with

Head (La

Vie), 1906, in

is

sprouting wings;

like

the

which Matisse was among the

admire. his

Among

fig-

which the

small pointed

breasts and jutting buttocks recall African ture,

num-

exaggerated and the truncated arms

arch of the back are

raised

among

a

the

Negro

first to

sculp-

know and

the heads are the tiny relief of 1903 of

daughter Marguerite, and the 1905 heads of two

small boys, his son Pierre and the son of the painter

12

Upright 1904.

Nude " 8 h.

87

ivith

Arched Back.

Torso with 1906.

Head (La

Vie).

Standing Nude, Arms on Head. 1906.

10%"

h.

9V

" 8 h.

13

1

14

.

FACING PAGE:

this page:

Profile of a Child (Marguerite).

Thorn Extractor. 1906. l 1/^'

1903. 5"

h.

h.

Head

of a Child (Pierre Matisse).

1905.

6%" h.

Head

of a Child

1905.

&y8 "

Head

of a

1906.

6 1/4 " h.

Head

of a Faun. 1907.

5V2 "

h.

fiose//e. 1905. 41/4" h. (

Pierre

Manguin

).

h.

\oung Girl (Marguerite)

Small Head uith Upswept Hair.

1906. 4i/o"

h.

Small Head with Flat Nose.

1906.6V4"h.

Small Head uith Comb. 1907. 3 3 4"

Head with Necklace. 1907.

h.

5~/$" h.

15

Woman Leaning on Her Hands.

1905. 5V4" h.

Manguin. In these he captures the characteristic personality of each child. In

1906 and 1907, seven small

but expressive heads were created. Two of the most

compelling are Small Head with Upswept Hair, with

its

aquiline features and hair rolled in the Greek style and

Small Head with

Comb which

is

modeled

in the classic

manner.

Also of this period are a number of sculptures that testify to Matisse's its

space:

among

mastery of the figure

in relation to

these are the small seated

Woman

Leaning on Her Hands of 1905, a complex arrangement of arms, legs,

and body

serene Standing

Nude

girl in a frontal pose.

16

in

opposing angles, and the

of 1906. a

modest adolescent

Standing Nude. 1906. 19"

h.

Half-Length Nude, Eyes Cast Down. 1906.

Transfer lithograph

HN

17

Reclining Woman,

II.

1906.

Pen and ink

Reclining Figure with Chemise. 1906. 5V2" h.

One

of

the

Matisse's art

is

most obsessive recurring themes the reclining nude.

The

in

earliest sculp-

ture on this theme, which continued to 1929,

is

Reclin-

ing Figure with Chemise of 1906, whose pose

is

closely

related to three of the figures in Joy of Life. In this

o

bronze, the outstretched figure

arm, bent

elbow; the

at the

is

supported by the right

knee

left

is

thrust over the

other leg, twisting the torso and throwing the

left

hip

into dramatic confrontation with the raised left arm.

The following

year, the

on a larger scale

was working on

in Reclining this figure,

before returning to his

theme was more

it,

.

Nude, fell

I.

While Matisse

made the foremost Blue Nude (Souvenir

"The bronze," Alfred Barr wrote,

posing in size than The Blue

developed

and was damaged;

the artist

Fauve figure paintings,

Biskra)

it

fully

Nude

of of

"is less im-

yet, in a sense, the

big painting actually served as a study for the sculpture.

The

sculpture

is

more powerfully composed,

the distor-

tions bolder, particularly in the bent but towering left

18

Reclining Nude,

I.

1907. 13l/2 "

h.

19

Dance. 1911.

16-5

8 "h.

No

arm.

sculpture by Matisse

more admirably

is

de-

signed to interest the eye and satisfy the sense of rhyth-

mic contrapposto when seen from different points of

The Reclining Nude

view.

1907

of

one of Matisse's

is

masterpieces."

same

In the

wood

year. Matisse

called Dance.'

produced

a

unique work

Using a log about

in

six inches in

diameter and some seventeen inches long, he carved, in

low

ject

relief, a frieze of

absorbed him

would continue

three dancing nudes. This sub-

in the ring

in the

dance

in

Joy of Life, and

two large paintings. Dance of

1909 and 1910. as well as

in a

bronze of 1911.

Matisse's fame was already established in 1908. and

33 Boulevard des Invalides was attracting

his school at

many

foreign students.

ing in clay, and

Sarah Stein

made

not be

his remarks, taken

Mrs. Michael Stein to agree with a

)

,

is:

in

down by

"The model must

preconceived theory or

must impress you. awaken

effect. It

which

I

The curriculum included model-

among

in

you an emotion,

turn you seek to express/'" Several small

crouching nudes created in 1908 range

in size

from

three to seven inches and have in their expressiveness

an immediate quality which encourages examination the hand. Small Crouching Torso less

but

is

is

clearly related to the crouching

paintings of 1907. Le Luxe,

I

and

//.

in

headless and arm-

nudes

in

two

Three figures seem

to be preliminary studies for the larger

Seated Nude

(Olga) of 1910.

Decorative Figure. 1908. combines an archaic dignity with sensuous elegance.

head

is

The

refined and stylized

large in relation to the body, and as Albert

Elsen points out. Matisse ingeniously solved a structural

20

problem with the crossed

legs:

"Sophisticated

Small Crouching Torso.

1908.

Crouching Nude. 1912. Fen and ink

3%" h.

Small Crouching Xude with Arms.

1903. 6"

Small Crouching Xude without

Seated Figure. Right

an Arm. 1908. V'^'h.

1908. 7Vo"h.

Hand

on Ground.

Seated

h.

Xude

(Olga). 1910. 17"

h.

^^ V

21

Decorative Figure. 1908. 28

:

V

h.

Seated Nude,

Ann

behind

Her Back. 1909. 11%" h.

22

.

Two Negresses.

L908.

L8V2 "

li.

foreshortening of the legs allows both feet to touch the

ground

which eliminates a potentially troublesome

(

space below the

foot

left

had been kept

if it

and securely anchors the composition."

Arm

occur again in Seated Nude,

is

in the air

)

Crossed legs

behind Her Rack of

1909. In this piece, the lower legs are

and one arm

9

left

unfinished,

incomplete, leaving the twisted torso

with rounded belly and hip as the focal point.

In

Tuo

I\

which

egresses, 1908, the only sculpture in

Matisse combines two figures, two heavily built nudes stand side to side facing in opposite directions, each

with an arm across the other's shoulders. hermetic, with

and

its

and

left

its left

arm hanging

One

figure

close to the

is

body

legs pressed together; the other, with legs apart

hand on

hip, keeps the composition open.

La Serpentine, 1909,

woman

is

an elongated figure of a

with grotesque proportions yet

is

both dignified

and provocative. The nonchalant pose of resting one elbow on a post and crossing the

been related by Alfred Barr Hilton

Kramer has

feet at the ankles

to the

Greek

said of this work:

has

tradition.

"The

10

parts are

each given an unexpected weight— the torso as slender as

any

to be

found

in a later Giacometti. the

ceived like a flower too large for

head con-

stem, the calves

its

almost too absurdly thick for the lean thighs— yet the

whole

is

resolved in a

harmony

that belies the distor-

tion of the parts." "

Standing Nude, a small bas-relief of 1908. seems like a sketch in bronze for

The Back,

four in the great series of

Although the small

modeling

is

I,

1909, the

more than

first

of

life-size reliefs.

relief is a frontal view,

its

fluent

an exercise in highlighting form which was

l.\

24

FACING PAGE:

La Serpentine. 1909. 22

Arms

Torso without

or Head. 1909.

Standing Nude. 1908. 9"

"

4

9%"

h.

h.

h.

carried to the Back series

manner

1

until the fourth

and

in

successively abstract

a

final version of

Because of the need for space

to

1930.

work on

sion from the Russian collector. Sergei

a

commis-

Shchukin, for

I.

two large wall decorations (Dance and Music), Matisse

moved

where he

to Issy-les-Moulineaux

built a studio.

Perhaps the experience of working out the problems of

form

murals led him to attempt a large

in

naturalistic

modeling

The Back,

in

relief.

The

accentuates the

I

form of the heavy-set model, who leans

to the left with

her head beyond the academic point of balance— above the

weight-bearing foot. The curving arabesque

characteristic of Matisse's that

was already apparent

sculptures such as Reclining Nude,

1908

rative Figure.

the

left

elbow,

down

)

flows

round, a

in the

breast

full

visible. In

of the twisted right

I,

from the head, cradled

is

if

in

1907, and Deco-

the furrow of the spine

buttock to the bent right knee. As

would not be

(a

in

and rounded

to suggest a figure

shown, where

in actuality it

another distortion, the fingers

hand are spread out as

a fan against

the wall.

Tlie

Back, II was done in 1913 and. like the

version, the figure ever, a

is

more

is

first

placed off center. The stance, how-

stabilized.

The flowing rhythm changes

to

syncopated one. and the modeling has Cubist facets

and arbitrary creases, such as

at the waist

and buttocks:

counter movements occur in the rounded right shoulder

and curved

left

arm. Hair and neck become a single

shaft extending into the hollow of the back, foretelling

the process of simplification to In

come

in the later states.

1916—17 Matisse was working on the

large paint-

ing Bathers by a Rirer, in which details of one figure

appear

in

The Back.

Ill,

1916—17. In

this relief, the

25

77ie fiacfc,

/.

1909.

74%"

Study for The Back,

Pen and ink

26

h.

II. ca.

1913.

The Back. U. 1913.

741/2" h.

27

The Back,

28

111.

1916-17.

74V2 "

h.

The Back. IK 1930.7V

/

h.

29

1910-13. 13"

Jeannette,

I.

Jeannette,

II,

1910-13.

Jeannette, III. 1910-13.

h.

10%"

23%"

h.

h.

torso

is

squared

off,

with the long hair dividing the

form into four main masses. The hips and legs are fused, with only a vestige of anatomical form, and the

splayed fingers are eliminated.

Matisse worked on The Back, IV in Nice in 1929—30.

In this, as in the third version, the figure

and the

left

breast

is

no longer

visible.

is

centered,

The top

of the

head protrudes above the edge of the panel, breaking the conventional format of the bas-relief as picture

plane, and introducing an architectural device of com-

bining the figure with

30

its

support. In the final resolution

Jeannette, IV. 1910-13.

24%" h.

Jeannette,

of the bent left arm, the point of the

the actual corner of the relief.

becomes the division

elbow appears

The heavy

to

be

rope of hair

first

V.

1910-13.

22%"

h.

two versions directly from the model, a young

woman named Jeanne

Vaderin. Within three years, the

two columns, the right one

remaining heads were produced as variations, inten-

hand. The long evolution of

sifying the pear-shaped face, aquiline features, and

these great sculptures can explain the radical change

bouffant hair in the third and fourth versions, and

notched

to indicate the

between the is

of

first

that Matisse

and the

but what

also apparent

drastically simplifying the structure in the fifth. Here,

logical but ever bolder steps

working from the plaster cast of the third version.

last,

was taking

is

toward monumental sculpture.

Matisse lopped

In another important series, the five heads of Jeannette of

1910—13, Matisse radically altered

nally naturalistic conception. In

his origi-

1910 he worked on the

the

brow

off the

instead,

and

center

fill

in the left

building up

sliced off the sides of the head,

throwing the eye sockets into to

roll of hair,

relief.

The

final step

was

socket with an abstract block, giving

31

Head

of Marguerite. 1915.

12V h.

an ambiguous intensity that Jeannette,

V is

to the face. Alfred

Barr has said

bolder than any Cubist sculpture of

the period, and that

it

anticipates Picasso's big plaster

heads of 1932. u While the process of abstraction in these heads

is

clearly

demon-

evident, Matisse also

strates his extraordinary

mastery of organic form and

expressive possibilities.

its

In 1915 Matisse modeled an eloquent head of his

daughter; in

Head

of Marguerite a thin face

sup-

is

ported by a narrow bust that turns into a truncated stele,

which has caused

it

often to be called '"Giacomet-

tesque," although, of course,

it

antedates Giacometti's

attenuated pieces by thirty years.

In 1916 Matisse began to spend winters in Nice. Of the three small bronzes of 1918, two were probably

Nude

taken from Hellenistic sources, and Reclining

with Bolster relates to paintings of this period, when he

was embarking on another major theme— the odalisque.

In 1921 he a

good part

moved

into

an apartment and was

of every year in Nice,

to

spend

whose Mediterranean

sun and light are captured in hundreds of paintings

which he combined patterned

textiles, exotic plants,

in

and

models, both nude and gaily costumed.

George Besson wrote of Matisse's he would

visit the

life in

Nice that

School of Decorative Arts to study

a cast of Michelangelo's Night, one of the pair for the

Medici tomb

in Florence.

13

made

During 1923-25, a

sculpture evolved which combines the indolence of the

painted odalisques with an extraordinary vitality and tension.

The massive

torso of Large Seated

Nude,

lean-

ing sharply backward with the arms locked behind the

head, left

is

like

an architectural cantilever anchored by the

foot under the right knee.

The

fact that the thighs

Seated Model Clasping Knee.

Seated

Nude Clasping Her Right

Leg. 1918. 9"

h.

1909. Reed pen and ink

Reclining

Nude

ivith Bolster.

1918. 4

:

S"

h.

Venus, ca. 1918. 10^4" h.

\air~~~-

33

Large Seated Nude. 1923-25. 33"

h.

34

i

Day. 1922. Lithograph Small Nude in an Armchair. 1924. 9Vi>"

h.

and

compared with

legs are unusually short

one of the

most fascinating things about

Perhaps their fleshy bulk

that

is all

is

the torso

is

this sculpture.

needed

the leaning body. In a small bronze of 192

to

1,

support

the nude,

low armchair, nonchalantly

in a similar position in a

throws one leg over the back of the chair.

In a series of three heads of 1925—29, the transfor-

mation from naturalism occurs in three two-yfear intervals.

portrait

The

of 1925,

first,

is

steps,

done

at

a conventional

model, Henriette Darricarrere, who

of the

posed for many paintings and drawings

in

Nice during

the 1920s. Henriette, II, 1927, introduces a style of simplified planes

and volumes

It is in

lines of the

to use

Henriette III,

though, that the personality of the model

The

was

that Matisse

occasionally in future sculptures.

is

revealed.

jaw are sharpened and the high cheek

bones emphasized; the

facial

are tightened, leaving

it

muscles around the mouth

partly open as

While these sculptures are only

if

to speak.

slightly over life size,

one can imagine them

in

monumental

the third version, with

its

architectural base.

scale, especially

In 1927 and 1929, Matisse returned to the pose of the reclining nudes of 1906—07. In Reclining Nude, II

he reverses the position, with the head the torso extending to the

left.

at the right

The body

is less

and con-

torted than in the 1907 version, and the figure, propped

up by the

left

monumental the

elbow with the right one

in its passivity,

in the air, is

emphasizing the swell of

rounded buttocks. In Reclining Nude,

rugged modeling yields

body has

to the

III,

the

smooth, and the sinuous

a relaxed ease.

Continuing

in

this

manner

of organic simplicity.

Matisse produced two very small torsos in 1929 and the

35

Henrietta

36

I.

1925.

HV2 "h.

Henrietta

II.

1927.

12%"

h.

Henriette, III. 1929.

15%"h.

37

Reclining Nude,

II.

1927.

liy2 "

h.

PRKSr +짜Z

Reclining Nude,

III.

1929.

7^"

h.

39

Small Thin Torso.

Tiari. 1930.

1929. 3" h.

Small Torso. 1929.

40

V/2 " h.

8"

h.

8" h.

Tiari (with Necklace). 1930.

11

Venus

42

in

a Shell,

I.

1930. 121/4" h.

Standing Nude. 1930. Pencil

Venus in a Shell,

II.

1932.

13%"

h.

•

t\

43

Study for Christ. 1949. Pen and ink and pencil

The Back and Tiari

final version of

by a

tropical flower that Matisse

in 1930. Inspired

admired during

earlier that year to Tahiti, the latter

work

rounded forms. The simplified head

is

is

a visit

a cluster of

surmounted by

such a weight of ovoid "petals," or "leaves," that a supporting wedge

needed

is

To add a further curve

to the

at the

back of the neck.

composition of one of the

ten casts, Matisse attached a necklace of fine chain.

Jacques Lipchitz said of the sculpture: 'The surfaces are almost neutral

.

.

.

the volumes are poetized to a

sublime degree." u Within the next two years, he completed two versions of a seated nude probably derived

from a Greek Shell,

is

shell. In the

more

Venus

in

a

1930, balances herself with raised knees in a

I,

bronze

terra-cotta in the Louvre.

static

second version, of 1932. the figure

and almost Cubist

in construction.

Because of his concern with other projects, Matisse

produced only three sculptures between 1932 and his death in 1954. After two serious operations in 1941,

he spent

much

of his time in bed,

working on drawings

and the collages of cut paper that have become so ential in

contemporary painting. In 1948 he began an

intensive period of three years' of the

influ-

work on

the decoration

Chapel of the Rosary for the Dominican Nuns of

Vence, for which he provided designs for the architecture, stained-glass windows,

adhered

to

and wall

tiles.

no formal religious doctrine,

Although he

this

work

ab-

sorbed him from a spiritual as well as an intellectual point of view. For the altar, he

made

a slender bronze

final

sculptures are the Crouching Nude,

1949, and Standing

Nude

(Katia), 1950. The

an almost primitive crudeness, with

44

is

a last repetition of the

woman

with arms raised above her head. This time the upright figure

is

stretched almost in exaltation.

Matisse has been

known

principally

through his

paintings and drawings, and in recent years through the late cut-outs of painted paper. Throughout his ca-

crucifix.

The two

unfinished, and Katia

its

first

arms and

reer,

however, he created some distinctively original

has

and extraordinarily beautiful pieces, and his position as

feet

a sculptor

is

increasingly recognized.

Christ,

Chapel of the Rosary for the Dominican Nuns of

Vence. 1949.

13%"

Crouching Nude. 1949. 10y8 "

h.

h.

45

Standing Nude (Katia). 1950.

Notes

1.

17%"

h.

Conversation with Pierre Courthion, quoted in Jean Guichard-Meili. Matisse.

New

York: Frederick A. Prae-

from the French

ger, 1967. p. 168. Translated

edition.

Paris: Hazen, 1967.

2.

Exhibitions of Matisse's sculpture, and those in which

an important part, are

his sculpture plays

listed

on

page 48.

3. All

4.

of the sculptures are illustrated in the catalogue.

Albert E. Elsen, "The Sculpture of Matisse, Part I,"

Artforum, September 1968, p. 21. The Sculpture of Henri Matisse, a monograph by Albert E. Elsen, New York: Harry N. Abrams, 1972, grew out of the four-part series in 5.

Jean Puy, '"Souvenirs," he Point,

Alfred H. Barr,

New

vol. 4, no. 3, July

p. 19.

1939, 6.

Artforum.

York: The

Jr.,

Matisse, His Art and His Public.

Museum

With the painting

Still

of

Modern

Art, 1951, p. 100.

Life with a Plaster Figure of

1906, Matisse began incorporating his sculptures into paintings.

The Reclining Nude,

least eight oils.

A

list

I

was

to figure in at

of Matisse's paintings that include

images of his own sculpture appears on page 47.

7.

This sculpture, in the Musee Matisse in Nice,

is

able for the present exhibition because of

its

unavailfragile

condition.

8.

Barr, op.

9.

Elsen,

cit., p.

551.

"The Sculpture

October 1968,

of Matisse, Part II," Artforum,

p. 28.

10. Barr, op. cit., p. 139.

11. Hilton

seum

Kramer, "Matisse as a Sculptor," Bulletin (Mu-

of Fine Arts, Boston )

,

vol. 64, no. 336,

1966,

p. 58.

12. Barr, op. cit., p. 142.

13.

George Besson, "Arrivee de Matisse a Nice," Le Point,

14.

Jacques Lipchitz, "Notes on Matisse as a Sculptor,"

vol. 4, no. 3, July

1939, p. 42.

The Yale Literary Magazine,

Fall 1955, p. 12.

46

n

Sculptures by Matisse Seen in His Paintings

Madeleine, Still

I.

1901

Goldfish. 1912. Barnes Foundation, Merion. Pennsylvania

Life in Venetian Red. 1908. Pushkin

Museum,

Still

Life uith Ivy. ca. 1915. Private collection

The Music Lesson. 1917. Barnes Foundation, Merion,

Moscow

Pennsylvania

Copy

after

Studio at Nice. 1924. Mr. and Mrs. Paul Cushman,

Pugefs Ecorche. 1903

Interior with Eggplants. 1911.

Musee de Peinture

et

de

New

York

Sculpture. Grenoble Still

Life uith Eggplants. 1911. Mrs. Bertram Smith.

Decorative Figure. 1908

The Pink Studio. 1911. Pushkin Museum, Moscow

New York

The'Red Studio. 1911. The Museum of Modern Art, Seated Nude uith

The Red Studio.

Arms on Head. 1904 1911. The Museum of Modern Art,

New

New York

Woman Leaning Still

New York Piano Lesson. 1916. The Museum of Modern Art.

Small Crouching Nude uith Arms. 1908

on Her Hands. 1905

Life uith Pelargonium. 1907.

The Art

York

Institute of

The Branch

of Lilac. 1914. Private collection

Chicago

Two Negresses. 1908 Fruit

Standing Nude. 1906 Still

and Bronze. 1908. Pushkin Museum, Moscow

Life uith a Plaster Figure. 1906. Yale University Art

Gallery.

The Back,

New Haven

I.

1909

The Pink Studio. 1911. Pushkin Museum, Moscow

Thorn Extractor. 1906 Still

Life uith Pelargonium. 1907.

The Art

Institute of

Jeannette, IV.

Chicago

New Reclining Nude,

I.

Goldfish. 1909 or 1910. Statens

Museum for Kunst,

Life uith Pewter Jug. 1910.

Goldfish and Sculpture. 1911.

York

Art,

Jeannette, Still

V.

1910-13. (?)

Life uith a Bust. 1912. Barnes Foundation. Merion,

The Hermitage, Dance. 1911

Leningrad

New

Modern

Pennsylvania

Copenhagen

Art,

of

York

1907

Sculpture and Persian Vase. 1908. National Gallery. Oslo

Still

1910-13

The Red Studio. 1911. The Museum

The Museum

of

Modern

Interior uith Eggplants. 1911.

Sculpture, Grenoble

Musee de Peinture

et

de

List of Exhibitions

Exhibitions devoted primarily to sculpture are indicated

by an

asterisk.

Others are

listed to indicate early

show-

Venice.

1930

Berlin. Galerien

ings of sculpture, important retrospectives, and exhibitions in

which the number of sculptures

in relation to

works

in other

is

Paris. Societe

mediums.

du Salon d'Automne.

Paris. E. Druet Gallery.

Paris. Societe

Mar. 19-Apr.

1910—11 London. Grafton

and

York.

at

Arts Club of Chicago,

7.

Basel. Kunsthalle. Henri-Matisse.

Retrospective. Aug. 9-Sept. 15. 127 works;

15 bronzes. Catalogue.

New

plasters.

York.

Museum

of

Modern

Art.

Henri-Matisse. Retrospective. Nov. Galleries.

19.

Mar. 13-28.

du Salon d'Automne.

Paintings. 13 bronzes

15— Mar.

Brummer Gallery. Sculpture by Henri Matisse. Jan. 5— Feb. 7. 46 works;

"New

25 shown

55 paintings, graphics, 3 sculptures.

1908

Thannhauser. Henri

265 works; 20 bronzes. Catalogue.

Paintings, 2 plaster busts.

1906

Biennale. 33 works; 6 bronzes.

Matisse. Retrospective. Feb.

considerable

1931

1904

XVI

1928

Manet and the

3— Dec.

6.

162 works; 11 bronzes. Catalogue.

Post-Impressionists. Nov. 8-Jan. 15.

Paintings, drawings, 7 bronzes.

1943

*New

York. Buchholz Gallery. Bronzes by

Degas, Matisse, Renoir. Oct. 19— Nov. 13.

1912

::

New York. Photo-Secession Gallery, "291."

An Exhibition of Sculpture— the first in America— and Recent Drawings by Henri

12 works.

1948

Galleries.

Second Post-

1949

1950 York. International Exhibition of

Modern

Art.

"The Armory Show."

Feb. 15— Mar. 15. 13 paintings, 3 drawings, I

Bernheim Jeune. Exposition

Henri Matisse. Apr. 14—19. 11 paintings,

Paris.

Maison de

la

Pensee Franchise. Henri

Matisse: Chapelle, Peintures, Dessins, Sculptures. July 5-Sept. 24. 115 works;

51 bronzes. Catalogue.

1951-52 New York. Museum

of

Modern

Art. Henri

Matisse. Retrospective. Nov. 13-Jan. 13.

Exhibition. Jan. 20-Feb. 27. 74 works;

145 works; 28 bronzes. Catalogue. Also shown at Cleveland Museum of Art, Feb. 5-Mar. 16; Art Institute of Chicago, Apr. 1-May 4; San Francisco Museum of

II sculptures.

Art,

13 sculptures.

48

2.

sculpture.

Paris. Galerie

1915

9— Oct.

308 works; 38 bronzes. Catalogue.

drawings, prints. 7 sculptures.

New

Lucerne. Musee des Beaux-Arts. Henri Matisse. Retrospective. July

Impressionist Exhibition. Oct. 19 paintings,

1913

of Art. Henri Matisse.

Catalogue.

plasters, 1 terra-cotta, 12 drawings.

London. Grafton

Museum

Retrospective. 271 works; 19 bronzes.

Matisse. Mar. 14— Apr. 6. 6 bronzes,

5

Philadelphia.

New

York. Montross Gallery. Henri Matisse

May

22-July

6.

1953

*London. The Tate Gallery. the Sculpture of Matisse

Studies. Jan.

9— Feb.

An

Kunsthaus. Zurich, July 14-Aug. 12, 1959

Exhibition of

and 3 Paintings with

(see separate entry); Konsthallen.

Gothenburg. Mar. 16-Apr. 10, 1960.

22. 48 bronzes.

Sponsored by the Arts Council of Great

*New

1958

Britain. Catalogue, introduction by Jean

York. Fine Arts Associates. Henri

Matisse: Sculpture. Drawings.

Cassou.

Nov. 25— Dec. 20. 21 bronzes. Catalogue.

*Copenhagen. Ny Carlsberg Glypotek. Henri 1959

Matisse. Skulpturer. Malerier. Farveklip.

Nov. 6— Dec.

6.

55 works; 45 bronzes.

*Zurich. Kunsthaus. Henri Matisse: Das '

plastische Werk.

The complete sculpture

of

Organized by Mrs. Agnes Widlund.

Matisse, as well as drawings, graphics and

Stockholm. Catalogue, foreword by Haavard

collages, lent

Rostrup. introduction by Jean Cassou. Most

Stockholm, the

of the sculptures were subsequently at

shown

Kunstnernes Hus, Oslo. Feb. 20-Mar.

1954;

Museum Boymans.

by the Ahrenberg Collection.

67 bronzes,

7,

1

and Swiss private 14— Aug. 12. 193 works;

artist's

collections. July

carved uood. Catalogue,

introduction by Eduard Hiittinger.

Rotterdam,

Apr. 16-June 8. 1954; National Gallery of

Canada. Ottawa, 1954;

Museum

of Fine

1961

Musee ToulouseT^autrec. Henri

Albi.

Matisse. Retrospective. July 11— Sept. 15.

Arts. Houston, Sept. 18-Oct. 16. 1955.

181 works: 63 bronzes. Catalogue.

1954

*Stockholm. Nationalmuseum. Modern I tlandsk Konst. lingar.

Nov.

1

Ur Svenska Privatsam-

1966

Los Angeles.

UCLA

painting, 68 prints.

Jan.

22 bronzes. Catalogue.

UCLA

Art Council and

Art Galleries. Retrospective.

5— Feb.

27.

345 works; 47 bronzes.

Catalogue, text on sculpture by Herbert

Minneapolis. Institute of Arts. Matisse in Minneapolis. Nov. 16-Dec.

5.

Read. Also shown

26 works;

10 bronzes.

1957

Arts. Boston.

"Stockholm. Nationalmuseum. Henri Matisse:

at

Art Institute of

Chicago, Mar. 11— Apr. 24;

1969

Apollon. Sept. 4-23. 43 bronzes. Sponsored

May 11— June

Museum

of Fine

26.

"London. Victor Waddington. Henri Matisse.

Sculpture. June 12— July 12. 16 bronzes,

by the Association of Medical Students of Stockholm. Catalogue in Swedish and

11 lithographs. Catalogue, introduction by

William Tucker.

French. Subsequently shown as the Theodore

Ahrenberg Collection. Skanska Museet.

Lund. 1957: Helssingin Taidehalli. Helsinki.

Dec. 10, 1957-Jan.

6.

Beaux-Arts de Liege.

1958; Musee des

May

3-July 31. 1958:

1970

Paris.

Grand

Palais.

Henri Matisse:

Exposition du Centenaire. Apr. 21— Sept. 21.

277 works: 28 bronzes. Catalogue,

text

by

Pierre Schneider.

19

.

.

Catalogue of the Exhibition

Titles are given in English

alternate titles are given.

and French. In some cases,

The

1899-1901. Bronze, 9 x 22 x 9 inches. 144).

"HM 9/10." Valsuani. Private collection. Page 8* 1

dates of sculptures refer

With some

to the original version in clay or plaster.

4 Study of a Foot (Etude de pied) 1900. Bronze, 11% inches high. (152 ). "HM 7/10." Valsuani. .

revisions, the dating

is

based on the catalogue of the

exhibition Henri Matisse:

Das

Werk

plastisclie

at the

Collection Jean Matisse, Paris.

Kunsthaus. Zurich, in 1959, which included sixty-eight sculptures. Dates for drawings are enclosed in paren-

theses

when they do not appear on

Woman (Buste de femme; Buste ancien).

24V2 inches high. 155) "HM 5/10." Valsuani. Collection Pierre Matisse, New

5 Bust of a

1900. Bronze,

the works. In the

dimensions, height precedes width and depth. Dimen-

I

Numbers

in parentheses,

beginning with

6 The Serf (he Serf). 1900-03. Bronze, high.

121), refer to the order of casting in bronze. Matisse

I

edition of 3

)

and no. 68

(

edition of 5

are given for most sculptures.

and most

casts

Two

New

Inscriptions

.

)

foundries were used,

(NY)

letters

a particular cast will be

,

(

M

)

,

or

shown only

(

in

B

1.

"Henri Matisse

York. Mr. and Mrs.

7 Horse (Le Cheval)

have a founder's stamp: "A. Bingen-

high.

Costenoble/Fondeurs, Paris," or "Cire/C. Valsuani/ Perdue." The

121

I

Bingen-Costenoble. The

bronzes are in editions of 10, with the exception of no.

1

172

(

I.

"HM

New

8 Madeleine, York. Min-

123

).

I.

is

from the one exhibited

in

collection.

New York

9 Madeleine,

SCULPTURE Woman

Bronze medallion,

"H. Matisse 94 Page 8* 2 Profile of a

/

9%

(

inches diameter.

Profil de

9%

(

180

bis

M. Victor

Leventritt,

II.

New

York.

.

)

1903. Bronze, 23

% inches high.

5." Valsuani. Private collection.

1903. Bronze, bas-relief, 5 x I.

.

inches diameter.

"HM

1/10." Private collection. Page 8

Copy

after Barye's

I

180

Jaguar Devouring a Hare

"HM

4/10." Private

Copy

after Puget's

3%

collection.

d''enfant )

inches.

)

I

162).

Page 14*

Ecorche (L' Ecorche d'apres

Puget). 1903. Bronze, 9 inches high.

femme) 1894.

(Jaguar devorant un lievre d'apres Rarye).

50

inches high.

.

11

Woman

23%

10 Profile of a Child (Marguerite) (Profil

femme) 1894.

HM 0/3." Private collection.

Bronze medallion.

3

(Profil de

inches

(

153 "HM Page 11* (

Profile of a

6%

(NY). "Henri Matisse 1/10." Valsuani. Private M. Bl. Page 11

asterisk indicates

illustrated.

1

1901. Bronze.

8." Valsuani. Collection Lewis

1901. Bronze.

Collection Mrs.

that a different cast

Le Serf."

"Henri Matisse 00/10." Valsuani.

neapolis, or Berkeley. All of the sculptures in the exhibition are illustrated in the catalogue on the pages

An

inches

Manilow, Chicago. Page 8

(

indicated at the end of each entry.

.

/

37%

Museum of Modern Art, Sam Salz Fund. Page 10

indicate that

)

.

I

York. Page 8*

sions for drawings give sheet size, and for prints, com-

position size.

Page 8

(

182).

"HM

2/10." Valsuani. Joseph H. Hirshhorn Collection.

Page 8 12 Seated

Nude

with

Arms on Head (Nu

sur la tete). 1904. Bronze,

13%

assis, bras

inches high.

*

(

141

)

.

James

"HM

4." Valsuani. Collection Mr. and Mrs.

Adams, New York. Page 12

S.

Nude

13 Upright

8%

1904. Bronze,

inches high.

(

.

(Nu cambre).

with Arched Back

165

).

Page 13

(138).

The Baltimore Museum

(

1905. Bronze,

.

Collection,

6%

inches high.

"H Matisse 8/10." Collection New York. Page 14

The

of Art.

(NY). "9 Henri Matisse." Valsuani. Collection Frank Perls, Beverly Hills. M, B Page 14

J.

14 Head of a Child (Pierre Matisse) (Tete d enfant, Pierre Matisse)

high. (126). "Henri Matisse 5/10." Valsuani.

Cone

"HM

9/10." Valsuani. Collection Mrs. Melville Kolliner, Los Angeles.

21 Head of a Young Girl (Marguerite) (Tete de 1 fillette, Marguerite) 1906. Bronze, 6 /i inches

Pierre

22 Standing Nude (Nudebout;

)

Nu

Bronze, 19 inches high. (139).

The

.

de

fillette)

"HM

.

1906.

9." Valsuani.

Page 17*

Jeffrey H. Loria Collection.

Matisse,

15

23 Standing Nude, Arms on Head; Braced Nude (Nu

Head

of a Child (Pierre

Manguin) (Tete

a" enfant,

Manguin) 1905. Bronze, 5% inches high.

(158). "7/10 HM." Valsuani. Collection Mr. and

Pierre

.

New

Mrs. Fritz Katz, Lake Success,

York. Page 14

16 Rosette. 1905. Bronze, 4^4 inches high. (188).

"HM 5/10." Valsuani. Collection Jean Matisse,

Woman Leaning sur les mains) inches.

124

(

.

).

on Her Hands

(

Femme appuyee

1905. Bronze, 5 1/! x

"HM

9% x 5^

2/10." Collection Mr. and

Mrs. Edward M. M. Warburg,

New

York.

(NY).

"HM

5/10." The Cone Collection, The Baltimore Museum of Art. M, B Page 16 (

)

chemise)

127

inches high.

(

132

Nu ).

campe). 1906. Bronze,

"Henri Matisse/ 10."

Valsuani. Collection Mrs. Bertram Smith,

New

(NY). "Henri Matisse 4/10." Valsuani. The Philip H. and A. S. W. Rosenbach Foundation, Philadelphia. (M, B).Page 13

York.

|

.

1906. Bronze,

"HM

Museum 19 Small

.

5%

(Nu couche a

of Art. gift of Albert Lion.

Flat

Nose

Page 18

.

stries)

"HM

Bakwin,

New

.

1906. Bronze, 4

1

/2

(

167).

Page 14

20 Small Head with Upswept Hair (Petite (170 )

9V8

inches high.

(

Matisse 9/10." The Metropolitan

New York, The

137

)

.

tete, la vie)

.

"Henri

Museum

of Art.

Alfred Stieglitz Collection, 1949.

(NY). "Henri Matisse 1/10." Private

collection.

(M,B).Pagel3 25 Thorn Extractor (Tireur d'epines). 1906. Bronze, 7V2 inches high. 177 "3/10." Private collection.

tete

)

.

Page 15* 26 Head of a Faun (Tete de faune) 1907. Bronze, 5M> inches high. (166). "HM 2/10." Valsuani. .

au nez

(Petite tete

3." Valsuani. Private collection.

cheveux

1906. Bronze,

(

x 11^4 x 6 inches.

camus). 1906. Bronze, 6 1/4 inches high.

"HM

la

5/ 10." Valsuani. The Baltimore

Head with

24 Torso with Head (La Vie) (Torse avec

.

18 Reclining Figure with Chemise

(

10%

la tete;

Page 15

Paris.

17

debout, bras sur

au

inches high.

Collection Jean Matisse, Paris. Page 15

27 Small Head with

Comb

(Petite tete au peigne;

3% inches high. (136).

7/10." The Cone Collection, Weatherspoon

Petite tete). 1907. Bronze,

"HM

5/10." Collection Dr. and Mrs. Harry

Art Gallery, The University of North Carolina

York. Page 14

Greensboro. Page 14

at

51

. .

28 Head with Necklace (Tete au Bronze,

5%

inches high.

(

Valsuani. Private collection,

"HM

New

29 Reclining Nude, Bronze, 13 V2 x

)

York.

19%

x

11%

Museum

Matisse 7/10." The

NY

(

18y2

I;

Baltimore

122

(

)

.

"Henri Matisse

/

New

York. Page 23

36 Standing Nude (Nu debout). 1908. Bronze

Aurore). 1907.

inches. (129). "Henri

Modern Art, New R Bliss Bequest.

of

inches high.

HM 8/ 10." Collection Dr. and Mrs. Harry Bakwin,

)

.

(Nu couche,

I

.

7/10."

"8/10 HM." The Cone Collection, The Museum of Art. M, B Page 14* <

35 Two Negresses (Deux Negresses) 1908. Bronze,

collier). 1907.

130).

York, acquired through the Lillie

(NY). "Henri Matisse 2/10." Bingen-Costenoble.

9 x

bas-relief,

4y2

inches.

(

161

)

.

"HM

7/ 10."

Private collection. Page 25*

37 Torso without Arms or Head (Torse sans bras ni 1909. Bronze,

tete).

"HM

9%

inches high. (160).

5." Joseph H. Hirshhorn Collection.

Page 25*

Collection Mrs. Philip N. Lilienthal, Burlingame,

38 Seated Nude,

(M,B). Page 19

California.

bras derriere

30 Seated Figure, Right Hand on Ground; Seated

Nude (Nu Bronze.

7V2

Valsuani.

Abby

assis,

main droite a

inches high.

The Museum

of

(

133

terre) )

.

.

high.

1908.

Art,

New

131

39 The Back, bas-relief,

accroupi sans bras)

.

I

134

)

.

"HM

.

1908. Bronze,

Arm

4%

nu

(Petit

inches high.

7/ 10." The Cone Collection,

3%

Collection Harry

I.

collection.

(M,B).Page21

34 Decorative Figure (Figure decorative)

1908

/

28%

.

1908.

"HM

H'4." Valsuani. Joseph H. Hirshhorn

Collection.

52

inches high. (169).

Page 22

74%

x

44%

/

HM 2/10 /

x 6V2 inches. (146).

1909." Valsuani.

(

142

) .

"Henri Matisse Art,

New

22%

inches high.

1/10." The

/

York,

gift of

Museum

of

Abby Aldrich

(NY). "Henri Matisse 10." Private (M, B). Page 24; cover

41 Seated Nude (Olga) (Nu 7."

Caesar, Litchfield, Connecticut.

(NY). "3/10." Private

Bronze,

"HM

inches high. (178).

inches

dos, I). 1909. Bronze

40 La Serpentine. 1909. Bronze,

collection.

33 Small Crouching Torso (Petit torse accroupi) 1908. Bronze,

11%

Rockefeller.

Greensboro. Page 21

at

1909. Bronze,

The Museum of Modern Art, New York, Mrs. Simon Guggenheim Fund. Page 26

Modern

Weatherspoon Art Gallery, The University of North Carolina

(Nu de

I

"Henri Matisse

1908. Bronze, 6 inches high.

135). "5/10." Private collection. Page 21*

32 Small Crouching Nude ivithout an

.

"HM 3/ 10." Bingen-Costenoble;

.

Page 22*

31 Small Crouching Nude with Arms (Petit nu

(

dos)

assis,

York,

Aldrich Rockefeller Fund. Page 21

accroupi avec bras)

)

behind Her Back (Nu

Valsuani. Joseph H. Hirshhorn Collection.

"7/ 10 HM."

Modern

(

Arm le

assis,

Olga; Grand nu

accroupi). 1910. Bronze, 17 inches high.

"HM

(

143

).

5." Valsuani. Collection Mr. and Mrs. Lee V.

Eastman,

42 Jeannette,

New

York. Page 21

(Jeanne Vaderin,

I

1st state).

Bronze, 13 inches high. (150).

The Museum through the

of

Modern

Lillie

R

Art,

1910â&#x20AC;&#x201D;13.

"0/10/HM."

New

Bliss Bequest.

York, acquired (

NY).

"HM 4."

.. . .

Valsuani. Los Angeles County

presented by the Art of Mrs.

43 Jeannette,

Art,

HM."

/

New

"HM

(

Council in

M, B

)

10%

Valsuani.

of Mrs.

The Museum

by the Art

Museum

23%

inches high.

Page 30

"HM

148

(

memory (M,B I.Page 30

Council in

of

by the Art Museum

of Mrs.

"5/10 HM."

Valsuani.

The Museum

of

)

Modern

York, acquired through the Lillie

Bequest. (NY).

"HM

P

2/10." The

Museum

Modern

of

York, Mrs. Simon Guggenheim Fund.

Page 27 49 Bead

of Marguerite (Tete de Marguerite). 1915.

Bronze,

12%

inches high.

(

"HM

125).

4/10."

E

4." Valsuani. Los Angeles

Museum Council in memory Rigby. (M,B).Page31 46 Jeannette,

V

The Museum through the

of Mrs.

Elmer C.

inches high. (168).

"5/10 HM."

Modern Art, New York, acquired Lillie R Bliss Bequest. (NY). of

1/10." Valsuani. Los Angeles County of Art, presented

Council in

memory

(M,B I.Page

31

York. Page 32

50 The Back, bas-relief,

M / HM Modern

(Nu de

III

74%

/

dos, III). 1916-17. Bronze

x 44 x 6 inches.

145

(

1/10." Valsuani. The

Art,

)

.

"Henri

Museum

of

New York, Mrs. Simon Guggenheim

of Mrs.

Venus

(Nu

Venus

assise)

by the Art

Museum

Elmer C. Rigby.

assis, bras .

autour de

la

jambe

droite;

1918. Bronze, 9 inches high.

(

157 )

"HM 5/10." Valsuani. Collection Mr. and Mrs. Howard A.

Weiss, Chicago. Page 33

52 Venus; Crouching Venus (Venus accroupie). ca.

1918. Bronze, lO 1^ inches high. (156).

"HM

6/10." Valsuani. The Cone Collection, The

Baltimore

(Jeanne Vaderin, 5th state). 1910â&#x20AC;&#x201D;13.

22%

Colin,

Bliss

County Museum of Art, presented by the Art

Museum

/

x 6 inches. (181). "Henri

51 Seated Nude Clasping Her Right Leg; Seated

(

"HM

HM

/

dos, II). 1913. Bronze

47%

Fund. Page 28

Elmer C. Rigby.

45 Jeannette, IV (Jeanne Vaderin, 4th state) 1910-13. Bronze, 24% inches high. 151

Bronze,

74M> x

New

New

4." Valsuani. Los Angeles County

of Art, presented

New

(Nu de

)

Modern Art, New Lillie R Bliss Bequest.

York, acquired through the

Art,

inches

)

III (Jeanne Vaderin, 3rd state).

HM." The Museum

Museum

.

Matisse Art,

Council in )

"HM

II

bas-relief,

County Museum

Elmer C. Rigby. (M, B

1910-13. Bronze,

(NY).

48 The Back,

Modern

of

NY

(

high. (176).

16%

1/10." Valsuani. Joseph H.

Hirshhorn Collection. Page 20

149).

(

47 Dance (LaDanse). 1911. Bronze,

Valsuani. Collection Mr. and Mrs. Ralph

44 Jeannette,

/

memory

Page 30

York, gift of Sidney Janis.

of Art, presented

"5/10

.

inches high.

5." Valsuani. Los Angeles

memory

of Art,

(Jeanne Vaderin, 2nd state).

II

1910-13. Bronze,

"2/10

Museum

Elmer C. Rigby.

Museum

.

Museum

of Art.

Page 33

53 Reclining Nude with Bolster; Figure with Cushion

(Nu couche au polochon). 1918. Bronze,

4%

x

9%

x

4V4

inches.

(

128). "Henri Matisse

3/10." Valsuani. The Philip H. and A. S. W. Rosenbach Foundation, Philadelphia.

Page 33* 54 Large Seated Nude (Grand nu assis; Nu assis, bras sur la tete). 1923-25. Bronze, 33 inches high.

53

V

(

159

New

I

.

.

Valsuani. Collection Nelson A. Rockefeller,

York. Page 34

55 Small Nude

Bronze, 3 inches high.

an Armchair (Petit nu au canape).

1924. Bronze, 9 2 inches high. 184). "HM 0/10."

Valsuani. Private collection. Page 35*

I

185

)

.

I.

1925. Bronze, 11 Mi inches high.

"HM 9/10." Valsuani.

Mrs. Nathan Cummings,

"HM

(

1927. Bronze,

II.

(140). "6/10

HM."

12%

inches high.

Valsuani. San Francisco

20V4

x

6y2

Valsuani. Florene

Marx

Collection,

(Nu couche,

II). 1927. Bronze,

"HM

inches. (179).

2/10."

M. Schoenborn and Samuel A. New York. (NY). "8." Valsuani.

The Minneapolis Institute of Arts, gift of the Dayton-Hudson Corporation. (M) "5/10 HM." .

Valsuani. Collection Mr. and Mrs. Sidney F. Brody,

Los Angeles.

(

B

)

.

Page 38

"HM

18^

(

175

)

Page 39

6." Valsuani.

61 Small Torso (Petit torse). 1929. Bronze, I

174

)

.

65 Venus

in a Shell, I

12%

.

(Venus a

The Museum of Modern Charles Simon. Page 42

Valsuani. gift of

66 Venus

in

Bronze,

1930.

la coquille, I).

inches high. (173).

"HM Art,

2/10."

New

3^

York,

a Shell, II (Venus a la coquille, II). 1932.

13%

inches high. (183).

"HM

3/10."

Valsuani. Joseph H. Hirshhorn Collection. Page 43

67 Crouching Nude; Small Crouching Figure; Seated

Nude (Nu

accroupi; Petit figure accroupi;

10y8

inches high.

(

Nu

187).

68 Christ (Le Christ), Chapel of the Rosary for the Dominican Nuns of Vence (Altar Crucifix). 1949.

16y8

13%

inches high (height of cross

inches). (189).

"HM

0/1." Valsuani.

69 Standing Nude (Katia) (Nu debout, Katia,

"9." Collection Mr. and Mrs.

Benjamin Weiss, New York. Page 40 54

)

Collection Jean Matisse, Paris. Page 45

Joseph H. Hirshhorn Collection. Page 37

high.

1930. Bronze, 8 inches high.

/

Modern Art, (NY). Tiari (with Necklace). "HM 1/10."

Valsuani. The Cone Collection, The Baltimore Museum of Art. NY, M, B Pages 40, 41

Bronze, III (Tele souriante). 1929. Bronze,

"HM

.

HM." Valsuani. The Museum of New York, A. Conger Goodyear Fund.

"2/10

.

8/10." Valsuani. Collection Mr. and Mrs. Walter Bareiss, Greenwich, Connecticut. Page 45*

x 5*4 inches. (154).

15>4 inches high. (163).

.

"HM

7/10." Joseph H. Hirshhorn Collection.

60 Henriette,

(

assis). 1949. Bronze,

59 Reclining Nude, III (Nu couche, III). 1929.

Bronze, l lA x

Page 40

74^2 x 44 x 6 inches. 147) Valsuani.

The Museum of Modern Art, New York, Mrs. Simon Guggenheim Fund. Page 29

bas-relief,

Bronze, II

"HM 3." Valsuani.

63 The Back, IV (Nu de dos, IV). 1930. Bronze

(

Lane Levy.

of Art, bequest of Harriet

58 Reclining Nude, x

.

Collection Jean Matisse, Paris.

64 Tiari (Le Tiare)

Page 36

liy2

)

)

5/10." Valsuani. Private collection. (M, B).

Museum

171

Collection Mr. and

New York. NY

Page 36 57 Henriette,

<

in

(

56 Henriette,

62 Small Thin Torso (Petit torse mince). 1929.

inches

taille

cassee)

.

1950. Bronze,

17%

dit la

inches high.

(186). "4/10." Valsuani. Collection Mr. and Mrs. Allan D. Emil,

New

York. (NY).

"HM

3/10."

.

and Mrs. Paul Kantor, Malibu, California. (M, B) Page 46* Valsuani. Collection Mr.

.

.

Art,

New

\ork, extended loan from the Joan and

Lester Avnet Collection

78 Nude with Pipes. 1906. Pen and ink, 18 x

DRAWINGS

inches. Collection Mr.

70 Study for Madeleine,

(ca.

11% x 9^4 inches. The Museum of Modern Art, New York, gift of Mr. and Mrs. Pierre Matisse in honor and memory of M. Victor Leventritt.

Page 10 (ca.

.

1903).

Charcoal, 13 x 8 x/2 inches. Private collection

72

.

(

1905

)

.

Pen and

ink,

6%

x

8%

inches. Collection Jean Matisse, Paris

Pen and

ink,

15%

x 20^/2 inches. Private

Toronto

74 Marguerite Reading,

15% New

x 20 1/2 inches. The

1906). Pen and ink,

Museum

Modern Art, Lillie R Bliss

York, acquired through the

of

Bequest, 1953

Reclining Figure with Chemise). (1906). Pen and

6%

Art,

New York,

x 12 1/4 inches. The

Museum

of

Modern

for the sculpture

The Museum of Modern Art, New York, extended loan from the Joan and Lester Avnet Collection. Page 18 inches.

77 Reclining Woman, III

(

study for the sculpture

Reclining Figure with Chemise

6%

x

8%

ca.

I

).

I

ca.

1907)

of

inches.

Dance

after the painting

1909

)

Modern

.

Pencil,

New

Art,

I

8% x 13% York,

first

version

inches.

)

The Museum

Pierre Matisse

gift of

81 Seated Model Clasping Knee. 1909. Reed pen and

11%

Chicago,

x

9^

gift of

inches.

The Art

Institute of

Mrs. Emily Crane Chadbourne.

Page 33 .

(

1910

).

Charcoal on buff paper, 28 1/4 x 23 inches. The

Museum

of

through the

Modern Art, New York, acquired Lillie R Bliss Bequest I

1912). Pen and ink,

12V2 x

8%

The Metropolitan Museum of Art. New York, The Alfred Stieglitz Collection. 1949.

(NY I. Page 21

inches.

inches.

The Back,

for

8 x 6 X,4 inches. The

Reclining Figure with Chemise). (1906). Pen and

ink,

80 Study

84 Study

76 Reclining Woman, II (study

6% x 8%

8%

extended loan from the Joan and

Lester Avnet Collection

ink,

study for The Back,

83 Crouching Nude.

75 Reclining Woman, I (study for the sculpture

ink,

I

ink, lO 1/^ x

82 Girl with Tulips (Jeanne Vaderin) (ca.

23%

S. Davis,

The Museum of Modern Art, New York. Carol Buttenwieser Loeb Memorial Fund Pen and

ink,

73 The Artist's Daughter, Marguerite, (ca. 1905)

collection,

79 Nude Study

I

Woman Leaning on Her Hands (Femme appuyee sur les mains)

and Mrs. Richard

London. (NY)

1901). Pencil,

71 Nude Study (Academie de jemme)

.

)

.

(

1906) Pen and

The Museum

.

of

Modern

II.

I

ca.

Pen and ink.

Modern Art, New

1913

Museum

of

I

.

York, gift of Pierre Matisse. Page 26

85 Reclining Nude with

Bolster.

I

1918). Pencil.

II x 15 inches. Private collection

86 Study (ca.

for the painting Odalisque.

1925

Museum

).

of

Charcoal, 16 x 20*4 inches. The

Modern

Art.

New

York, Katherine S.

Dreier Bequest

55

.

Photograph Credits

87 Standing Nude. 1930. Pencil, Robert Elkon Gallery,

12%

x 9 Ms inches.

Courtesy Art Institute of Chicago, 33 top

33 bottom

88 Study

for Christ,

Dominican Nuns

Museum

Courtesy Baltimore

New York. Page 43

Chapel of the Rosary for the of Fence. ( 1949) Pen and ink

left,

left

of Art, 14 center left, 18,

35 top

Rudolph Burckhardt, New York, 42 Cauvin, Paris. 8 top center, 8 center, 8 top right, 14 top

left,

and pencil. 17 x 13 inches. Musee Matisse, Nice.

15 top right, 15 bottom right, 25 bottom, 40 top

left

Page 44

Jonas Dorydenas, Chicago, 33 top right

.

left,

45

Claude Frossard, Le Canet, 44

James Mathews, New York, 10

PRINTS

Courtesy Metropolitan 0. E. Nelson,

89 Half -Length Nude, Eyes Cast Down. (1906).

of Art,

New York, 8 bottom

New York,

right, 20, 22 left,

Transfer lithograph,

17% x 9^/2 inches. The Modern Art, New York, given anonymously in memory of Leo and Nina Stein.

Rolf Petersen,

Museum

Eric Pollitzer, Garden City Park, N.Y., 26 right

Page 17

Adolph Studly, Pennsburg,

of

5/50/HM." The Cone Collection, The Baltimore Museum of Art. NY). "Henri Matisse 6/50." Stanford University Museum of Art,

Matisse

(

Stanford, California, gift of Mrs. Michael Stein.

inches.

(

1922

"Henri Matisse

Private collection,

.

)

/

Lithograph,

9% x 11%

epreuve d'artiste 3/10."

New York. NY) (

92 Seated Nude with Arms Raised. (1924).

Lithograph, 24 1/4 x

Modern

Art,

New

18%

York,

inches.

gift of

The Museum

of

Abby Aldrich

Rockefeller

CERAMIC 93 Reclining Nude.

Edward

New

York, 13

40 right, 41

left,

Steichen, frontispiece

bottom

11

left.

12, 13 right, 14 center, 14 center right, 14

bottom

left,

14 bottom right, 15

left,

left, 16,

Pa., 8

17

left,

21 top

left,

I

1907

)

.

Ceramic

tile,

Collection Joy S. Weber. Great Neck.

4x5 inches.

New York

11 right,

21 top right,

21 bottom right, 22 right, 23, 25 top, 27, 32, 33 bottom right, 34, 36 right, 38 top, 38 bottom, 40

Soichi Sunami,

New York,

bottom

front cover, 10

21 top center. 21 bottom center, 24, 26

30 bottom

left,

30 right. 31

left.

left left,

left,

17 right, 19,

28, 29,

31 right

Cathy Swanson, Greensboro, N. C, 21 bottom

(M, B). Page 35 91 Night (La Nuit).

back cover 13 center

37, 39, 43 right

90 Day (Female Nude, Arms behind Head) (Le Jour) (1922). Lithograph, 9% x 11 inches. "Henri

56

right, 14 top center,

Museum

New York, 18 top Malcolm Varon, New York. 14 top

left

Charles Uht,

right, 36 left

Etienne Bertrand Weill, Courbevoie, 8 center

left

30 top

left,

The Museum

of

Modern

Art,

New

York