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Henri Matisse (French, 1869–1954)
LOT ID: 77251
Untitled (from Revue Verve, Vol. IX), 1958

Lithograph
14 х 21 in. (35.56 x 53.34 cm.)
Unsigned, From the Verve publication, Editions de la Revue Verve, Vol. IX, No. 35 & 36, on wove paper.
Print/Casting Year 1958
Foundry/Publisher Mourlot Freres, prntr.
Lot description
This lithograph is from Revue Verve, Vol. IX, Dernières Oeuvres de Matisse 1950-1954, the Verve publication of 1958 dedicated to the last works of Matisse from 1950-1954. Matisse supervised the drawing of the lithographic stones with images from his famous paper cut-out works, but died before the prints were completed. The lithographs were printed by Mourlot Freres, Paris, the most famous lithography atelier in Paris founded in 1852. Imprimerie Mourlot printed the greatest masters of the 20th Century. In addition to Matisse, Mourlot printed Georges Braque, Joan Miró, Salvador Dalí, Marc Chagall, Alexander Calder, Max Ernst and Fernand Leger, to name just a few. Currently the Metropolitan Museum of Art, New York, NY, is exhibiting "Matisse: In Search of Painting," which features Verve prints from the artist's late period.

The work is beautifully framed, floated in an antiqued, gilded wood frame.

Known for his use of color and original form, Matisse was recognized as a leader of the French group of artists known as the Fauves. Fauvist paintings expressed emotion with wild, often dissonant colors, without regard for the subjects' natural coloring. Other members included Georges Braque, Raoul Dufy and Maurice de Vlaminck. The Symbolist painter and Ecole des Beaux-Arts professor Gustave Moreau was the movements' inspirational teacher. Matisse mastered the expressive language of color and drawing, creating work characterized by flat shapes and controlled lines over half a century. Around 1904, at the Paris salon of Gertrude Stein, he met Pablo Picasso, who became his life-long friend and rival. Though they are often compared, while Matisse drew and painted from nature, Picasso was much more inclined to work from imagination. Although the subjects they painted were frequently similar, women and still life, Matisse was more likely to place his figures in fully realized interiors. Later, in 1917, Matisse’s work began to show a relaxation and softening of his approach and by 1930 a more severe simplification of forms appears in his work. Today, the Baltimore Museum of Art holds the largest collection of Matisse’s works.

Selected Public Collections:
Solomon R. Guggenheim Museum (New York, NY)
The Museum of Modern Art (New York, NY)
National Gallery of Art (Washington, D.C.)
Musee Matisse, Le Cateau-Cambresis (France)
Hermitage Museum (Saint Petersburg, Russia)
The Barnes Foundation (Philadelphia, PA)
Tate Gallery (London, UK)
Untitled (from Revue Verve, Vol. IX) by Henri Matisse
  • Untitled (from Revue Verve, Vol. IX) by Henri Matisse
  • Untitled (from Revue Verve, Vol. IX) by Henri Matisse
  • Untitled (from Revue Verve, Vol. IX) by Henri Matisse
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