Towards the end of his monumental career as a painter, sculptor and lithographer, an elderly and sick Henri Emil Benoit Matisse (1860-1954) was unable to stand and use a paintbrush for a long period of time, and so developed the technique of ‘Carving into colour’ creating bright, bold paper cutouts. Though dismissed by some contemporary critics as the folly of a senile old man, these “gouaches decoupees” (gouache cut-outs) in fact represented a revolution in modern art, a whole new medium that re-imagined the age-old conflict between color and line. In their deceptive simplicity the cut-outs achieved both a sculptural quality and an early minimalist abstraction which would profoundly influence generations of artist to come.
Created by Matisse in 1950, “Zulma” and “Danseuse Creole” was one of Matisse’s favorite pieces. “Zulma” is a work that has a closer relationship to an easel painting than many of the other cut-outs. We see a woman in a room with an orange stripe down her middle and blue sides, and black haircut. We see her between two tables, clearly in an interior with a vase of flowers beside her. These later works by Matisse express his love of form, music and color.
These images reproduce his iconic pochoir designs. This lithograph was included in the Verve Revue Artistique et Litteraire Volume IX No. 35-36, printed in Paris in 1958. Matisse had specially composed the cover of this volume and under his direction, the first of these plates were printed in the 1954, and were completed in July 1958 by Mourlot Brothers. These lithographs were produced at the end of the artist's life and are the only edition of lithographs produced directly by Matisse working with Mourlot and are becoming increasingly scarce.
Lithograph on cream wove paper.
14 1/8 x 10 3/8 4 inches sheet, 15 x 19 inches framed.
or click to inquire about this print.