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拍品专文
Wanda de Guébriant has confirmed the authenticity of this work.
Femme au chien sur le petit lit vert is suffused with the atmosphere of light and sensuality of the South of France where Matisse had made his home by the time this work was created in 1929. In this picture, the artist has rendered the scene with elegant lines and flicks that appear almost to caress some of the curves of the model, a contrast to the shorter strokes with which Matisse has captured the fur of the dog of the title, which looks out with its engaging face and eyes that are, along with its nose, the darkest elements in the composition. Matisse's draughtsmanship has been showcased in this picture: he has used his signature delicacy and economy of means in order to create this image through the use of penstrokes which leave most of the sheet in reserve, allowing it to glow. This was a technique which Matisse himself discussed:
"My line drawing is the purest and most direct translation of my emotion. Simplification of means allows that. But those drawings are more complete than they appear to some people who confuse them with a sketch. They generate light; looked at in poor, or indirect light, they contain not only quality and sensibility, but also light and difference in values corresponding obviously to color... Once I have put my emotion to line and modelled the light of my white paper, without destroying its endearing whiteness, I can add or take away nothing further" (quoted in V.I. Carlsen, ed., Matisse as a Draughtsman, exh. cat., Baltimore Museum of Art, 1971, p. 18).
By the end of the 1920s, Matisse's long-term model in Nice, Henriette Darricarrère, had married and was no longer sitting for him. He therefore used a variety of other models for his drawings, prints and sculptures, such as Lily, Loulou and Lisette. In the present work, Matisse has used his model as a prompt to plunge the viewer into a heady world of languid sensuousness, the sitter lounging back, relaxed, her gown open revealing her breasts, introducing a harem-like feel to the picture that perfectly captures that sense of exoticism and eroticism that marks out many of his greatest pictures.
Femme au chien sur le petit lit vert is suffused with the atmosphere of light and sensuality of the South of France where Matisse had made his home by the time this work was created in 1929. In this picture, the artist has rendered the scene with elegant lines and flicks that appear almost to caress some of the curves of the model, a contrast to the shorter strokes with which Matisse has captured the fur of the dog of the title, which looks out with its engaging face and eyes that are, along with its nose, the darkest elements in the composition. Matisse's draughtsmanship has been showcased in this picture: he has used his signature delicacy and economy of means in order to create this image through the use of penstrokes which leave most of the sheet in reserve, allowing it to glow. This was a technique which Matisse himself discussed:
"My line drawing is the purest and most direct translation of my emotion. Simplification of means allows that. But those drawings are more complete than they appear to some people who confuse them with a sketch. They generate light; looked at in poor, or indirect light, they contain not only quality and sensibility, but also light and difference in values corresponding obviously to color... Once I have put my emotion to line and modelled the light of my white paper, without destroying its endearing whiteness, I can add or take away nothing further" (quoted in V.I. Carlsen, ed., Matisse as a Draughtsman, exh. cat., Baltimore Museum of Art, 1971, p. 18).
By the end of the 1920s, Matisse's long-term model in Nice, Henriette Darricarrère, had married and was no longer sitting for him. He therefore used a variety of other models for his drawings, prints and sculptures, such as Lily, Loulou and Lisette. In the present work, Matisse has used his model as a prompt to plunge the viewer into a heady world of languid sensuousness, the sitter lounging back, relaxed, her gown open revealing her breasts, introducing a harem-like feel to the picture that perfectly captures that sense of exoticism and eroticism that marks out many of his greatest pictures.