413

HENRI MATISSE Icare.

HENRI MATISSE
Icare.

Color pochoir, 1947. 406x270 mm; 16x10 5/8 inches (image); 423x327 mm; 16 5/8x12 7/8 inches (sheet). Edition of 270. Published by Tériade, Paris. From Jazz. A superb impression with strong colors.

Born in the north of France to a family of weavers and grain merchants, Matisse (1869-1954) grew up in a rustic, pre-industrial town. In 1889, after passing the bar exam and becoming a law clerk (which he found exceedingly tedious), he was diagnosed with appendicitis. During his convalescence, his mother bought him art supplies and it was only then that he began to paint. He left for Paris in 1891 to begin his formal art education. Matisse went to the traditional schools and was trained in the academic manner, a background evidenced in his early works. Nevertheless, he soon began to experiment with the flurry of new styles and movements taking shape at the time, fraternizing with other Post-Impressionists and influential contemporaries in Paris, aligning himself with a group of like-minded artists who would become the Fauves.

Matisse and the Fauves met great criticism when they debuted in Paris at the famous Salon d''Automne in 1905. This exhibition gave birth to the moniker, Fauves (meaning "wild beasts"), because of their perceived violent disregard for realistic use of color and form. While he exhibited with other Fauves such as Derain, Vlaminck and van Dongen, Matisse experienced the lion''s share of criticism for his painting Woman with a Hat, 1905. In this early work, Matisse fused Pointillist color theory with Cézanne''s rich, painterly impasto in what contemporary critics regarded as a disregard for artistic sanctity. After his initial adherence to Fauvism, Matisse explored varied styles and themes.

Though most famous for his paintings and sculptures, Matisse was also a prolific printmaker, producing over 800 individual prints (typically in editions of 25 to 50) from 1900 to 1954. He moved freely between various printmaking techniques and used printmaking as an extension of his drawing style and process. The imagery he created often was repeated forms of reclining nudes, portraits or dancing bodies drawn with elegant and energetic contour lines. Matisse found printmaking to be an exciting medium that allowed innovation while also enabling him to produce works in multiples to satisfy the increasing demand for his art. The wide dissemination and demand for Matisse''s printed work undoubtedly contributed immensely to his position as a preeminent artist of the 20th century.

In the latter years of his life, after battling cancer and eventual confinement to a wheelchair in 1941, he lost a portion of his mobility and focused his practice on creating images using paper cut-outs. One of his first fully-realized works to utilize this technique were the 20 prints for the illustrated book entitled Jazz. The prints in Jazz replicated the original paper cut-outs through pochoir, a fine stencil technique that mimicked the texture and complexity of the cutout technique. The portfolio ushered in a new era in the artist''s oeuvre, as he moved away from oil painting to fully embrace cut-outs. Matisse appreciated the simplification of the method, which allowed him to "draw directly into the color."

The majority of the prints from Jazz were inspired by the theater, folklore and the circus, and are accompanied by pages of large handwritten text on the artist''s thoughts and inspiration from music. The title Jazz is intended to engender themes of improvisation and energy. The planes of pure color and bold abstracted forms present in Matisse''s Jazz pochoirs are cited as a major influence on the following generation of artists that proscribed to similar "hard-edged" abstraction. Duthuit Books 22.

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