| Born | 1869 (Le Cateau-Cambrésis) |
| Died | 1954 (Nizza) |
| Nationality | France |
| Epochs | Impressionism, Fauvism, Post Impressionism, Divisionismus, Neoimpressionismus |
| Genre | landscape, figure painting, still life, portrait |
| Profession | painter, sculptor, graphic artist, lithographer, draftsperson, ceramicist, designer, glass painter, art theorist |
| Family | Spouse: Amélie Parayre Child: Marguerite Duthuit Faure, Jean Gérard Matisse, Pierre Matisse |
| Teacher | Gustave Moreau |
| Student | Patrick Henry Bruce, Ludvik Peter Karsten, Arvid Fougstedt, Marcel Gromaire, Axel Revold, Jane Gumpert, Carl Palme, Sigfrid Ullman, Filip Wahlström, Ingegerd Beskow, Milly Slöör, Nina Jakowlewna Jefimowa, Hadar Jönzén, Brita Lagerström-Hald, Sigrun Stéenhoff-Hjertén, Maj Bring, Annelies Nelck, Mykola Buratschek, Per Krohg |
| Notable works | Frau mit Hut (1905), The Joy of Life (1906), The Dessert: Harmony in Red (The Red Room) (1907), Green Stripe (1905), Music (1910) |
| Museums | INHA Bibliotheque numerique (Cariatide), Statens Museum for Kunst, Barnes Foundation, Art Institute of Chicago, Finnish National Gallery (Kansallisgalleria) |
A small flowerpot stands on the sill, while behind it the sea glows in pink, turquoise and pale blue. Henri Matisse (1869-1954) was a French painter, printmaker and draughtsman. In Open Window, Collioure, this everyday object was enough to make the immediacy of a summer's day palpable. For him, the window did not separate indoors from outdoors, but allowed the colors to flow into one another. Yet his path to this point began with files, office work and a legal career. When the consequences of an appendectomy confined him to bed for a long time in 1890, he began to paint. For a year, the familiar world had shrunk to a sickroom, but another opened up on paper. Eventually, he abandoned the law. Perhaps this experience helps explain the determination with which he later approached windows, gardens and interiors: for him, color was not an embellishment added later, but a way of making life expansive again. Even an early Parisian garden painting, The Luxembourg Gardens, Paris, ca. 1902, as well as Bois de Boulogne and Goldfish, retain in their titles the specific places or things that Matisse transformed into vivid, colorful presences.
In the summer of 1905, Matisse worked alongside André Derain in Collioure. It was there that he created Open Window, Collioure, whose pink shutters refuse to remain still and instead seem like a warm echo of the harbor. When the paintings were shown that autumn at the Salon d'Automne in Paris, the public reacted with outrage, and the critic Louis Vauxcelles coined the name Medieval Art, or wild beasts, for the group. The term was intended as a barb, yet it soon came to describe the freedom with which color was released from the obligation merely to imitate nature. In The Joy of Life, nude bodies recline in a landscape that seems less observed than sustained by yellow, green and blue. Matisse allowed areas of color to breathe, simplified lines and, in doing so, preserved a sensual warmth that gave even large formats an air of effortlessness. His friendship with Picasso was shaped by rivalry, respect and creative vigilance. Later, Nice became the center of his life, initially in a hotel room by the sea. Interior in Nice shows a seated figure in an open doorway, yet the strong turquoise tones and patterned room keep the calm from feeling cool. After major intestinal surgery in 1941, Matisse had to adapt his working methods to his physical limitations. Painted and cut papers became large cut-and-paste compositions in which blue, red, yellow and green met with even greater immediacy. Blue Nude III belongs to that late pictorial world, in which a body became present through a few powerful forms. What might have seemed like a limitation was transformed by Matisse into a lighthearted final chapter.
Whenever a reproduction of one of his paintings is prepared at Meisterdrucke, the sensitivity of the balance between luminosity and calm becomes apparent time and again. Every image file is therefore inspected by experts before the fine art print is slowly produced using lightfast pigment inks. A slightly glossy canvas is often recommended for the luminous areas of color, while a matte canvas with a fine texture has a more understated effect; each customer can select the medium, size and frame. In this way, Open Window, Collioure remains what it promised at first glance: a door flung wide open into Matisse's color.
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| Born | 1869 (Le Cateau-Cambrésis) |
| Died | 1954 (Nizza) |
| Nationality | France |
| Epochs | Impressionism, Fauvism, Post Impressionism, Divisionismus, Neoimpressionismus |
| Genre | landscape, figure painting, still life, portrait |
| Profession | painter, sculptor, graphic artist, lithographer, draftsperson, ceramicist, designer, glass painter, art theorist |
| Family | Spouse: Amélie Parayre Child: Marguerite Duthuit Faure, Jean Gérard Matisse, Pierre Matisse |
| Teacher | Gustave Moreau |
| Student | Patrick Henry Bruce, Ludvik Peter Karsten, Arvid Fougstedt, Marcel Gromaire, Axel Revold, Jane Gumpert, Carl Palme, Sigfrid Ullman, Filip Wahlström, Ingegerd Beskow, Milly Slöör, Nina Jakowlewna Jefimowa, Hadar Jönzén, Brita Lagerström-Hald, Sigrun Stéenhoff-Hjertén, Maj Bring, Annelies Nelck, Mykola Buratschek, Per Krohg |
| Notable works | Frau mit Hut (1905), The Joy of Life (1906), The Dessert: Harmony in Red (The Red Room) (1907), Green Stripe (1905), Music (1910) |
| Museums | INHA Bibliotheque numerique (Cariatide), Statens Museum for Kunst, Barnes Foundation, Art Institute of Chicago, Finnish National Gallery (Kansallisgalleria) |
A small flowerpot stands on the sill, while behind it the sea glows in pink, turquoise and pale blue. Henri Matisse (1869-1954) was a French painter, printmaker and draughtsman. In Open Window, Collioure, this everyday object was enough to make the immediacy of a summer's day palpable. For him, the window did not separate indoors from outdoors, but allowed the colors to flow into one another. Yet his path to this point began with files, office work and a legal career. When the consequences of an appendectomy confined him to bed for a long time in 1890, he began to paint. For a year, the familiar world had shrunk to a sickroom, but another opened up on paper. Eventually, he abandoned the law. Perhaps this experience helps explain the determination with which he later approached windows, gardens and interiors: for him, color was not an embellishment added later, but a way of making life expansive again. Even an early Parisian garden painting, The Luxembourg Gardens, Paris, ca. 1902, as well as Bois de Boulogne and Goldfish, retain in their titles the specific places or things that Matisse transformed into vivid, colorful presences.
In the summer of 1905, Matisse worked alongside André Derain in Collioure. It was there that he created Open Window, Collioure, whose pink shutters refuse to remain still and instead seem like a warm echo of the harbor. When the paintings were shown that autumn at the Salon d'Automne in Paris, the public reacted with outrage, and the critic Louis Vauxcelles coined the name Medieval Art, or wild beasts, for the group. The term was intended as a barb, yet it soon came to describe the freedom with which color was released from the obligation merely to imitate nature. In The Joy of Life, nude bodies recline in a landscape that seems less observed than sustained by yellow, green and blue. Matisse allowed areas of color to breathe, simplified lines and, in doing so, preserved a sensual warmth that gave even large formats an air of effortlessness. His friendship with Picasso was shaped by rivalry, respect and creative vigilance. Later, Nice became the center of his life, initially in a hotel room by the sea. Interior in Nice shows a seated figure in an open doorway, yet the strong turquoise tones and patterned room keep the calm from feeling cool. After major intestinal surgery in 1941, Matisse had to adapt his working methods to his physical limitations. Painted and cut papers became large cut-and-paste compositions in which blue, red, yellow and green met with even greater immediacy. Blue Nude III belongs to that late pictorial world, in which a body became present through a few powerful forms. What might have seemed like a limitation was transformed by Matisse into a lighthearted final chapter.
Whenever a reproduction of one of his paintings is prepared at Meisterdrucke, the sensitivity of the balance between luminosity and calm becomes apparent time and again. Every image file is therefore inspected by experts before the fine art print is slowly produced using lightfast pigment inks. A slightly glossy canvas is often recommended for the luminous areas of color, while a matte canvas with a fine texture has a more understated effect; each customer can select the medium, size and frame. In this way, Open Window, Collioure remains what it promised at first glance: a door flung wide open into Matisse's color.