1927
pastel on paper
Private collection.
This remarkable photograph also shows two key decorative elements that appear in the background of La danseuse and may also be seen in other paintings. There is a multi-colored striped wall hanging, probably of North African origin, and also one of the best-known of all Matisse's floral patterned textiles, thanks to its appearance in the artist's masterwork of the mid-twenties, Figure décorative sur fond ornamental, which Matisse began in 1925, not long after he drew this pastel, and completed in spring 1926 (fig. 3).
Matisse capitalizes in La danseuse on all of the unique qualities of his chosen medium, the pastel stick, using its brilliant, tinted tones to create an airy, light-filled picture. In his late compositions of dancers (fig. 4), Degas liked to dampen the pastel as he applied it, and lay one color over another so that they might even blend into a thick paste of hybrid tones. Matisse, however, was careful here not to mix his colors, lest he sully the purity of their tones, and he instead applied them in separate strokes laid side by side. This simple technique allowed him to achieve maximum chromatic contrast, while using the warm tone of the paper to unify the shimmering effect. The result here is even more evanescent than was possible with oil paint. While these are different means, Matisse employed them to the same end, which Dominique Fourcade has described:
"All of Matisse's research during these first years in Nice arrives a new unity of the surface: human beings and objects are not treated differently than floors or walls on the painting's surface. Matisse progressively abolishes all pictorial distinction between the apparent subject of his paintings and the background of these same paintings. He resolves this subject background in terms of space... and resolves the problem of space in terms of light. Each parcel of the painting's surface is a site of color... and each site of color becomes a source of light, combined with all the other sources of light on the canvas, create a wholeness of light and space" (in exh. cat., op, cit., 1986, p. 55).
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