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• Landscape of Collioure

• Henri Matisse

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• Paysage de Collioure, 1906-1907
  Oil on canvas
  
  Henri Matisse painted this vigorously brushed canvas outdoors, sur le motif, likely in a single session, working quickly and spontaneously to capture the blazing light of the Mediterranean sun. From the welcome shade of a cypress tree, whose boughs overhang the upper edge of the composition, the artist gazed downhill toward the distant fishing commune of Collioure, located near the border with Catalunya. Two years previously, Matisse and André Derain had turned this ancient, primitive place into a fiery crucible of modern art, forging a new and radical kind of painting in pure colors, on canvases that stunned the public when first shown at the 1905 Salon d’Automne.
  
  Dismayed and perplexed, the critic Louis Vauxcelles dubbed their efforts “fauve”, as if in the primal fury of their inspiration these two artists, together with some like-minded comrades, had painted like wild beasts. Matisse disliked the term, but by 1907, when he showed this Paysage de Collioure at the Salon d’Automne, this characterization had stuck and gained common currency. “The Fauves!”—Vauxcelles again declared in his latest review—“M. Matisse, chief fauve, M. Derain, sub-chief fauve,” then naming several followers and apparent fellow travelers (quoted in J. Flam, op. cit., 1986, p. 199). Matisse, then in his late thirties, had become famous, even notorious, as the pre-eminent painter in Paris, who stood at the cutting edge of a new avant-garde.
  
  In May 1906, following a two-week stay in Algeria, his first experience of North Africa, Matisse returned to Collioure as his base of operations, remaining in the Pyrenées-Orientales—apart from a couple of trips back to Paris, and a month in Italy with Leo and Gertrude Stein during the summer of 1907—until he moved back to the capital in early September 1907. From the outset of his second sojourn in Collioure, Matisse was already evolving in new directions. The expressive potential of color remained his primary interest; he had begun working, moreover, toward a formal re-organization of the pictorial surface, in conjunction with a changing emphasis in his choice of subjects.
  
  Painting the land- and seascape in the dazzling light of the South had been Matisse’s driving passion during the initial season in Collioure. The figure became the artist’s priority during his subsequent stay. Matisse had once again taken up sculpture; Aristide Maillol, who lived in Banyuls-sur-Mer, a few stops distant on the coastal railway, provided technical and critical advice. In Matisse’s new paintings, the nude, singly or in groups, became the central element in pastoral, idyllic settings, often in the context of a classical, allegorical theme. He followed Le bonheur de vivre, painted in Paris during the autumn and winter, 1905-1906, with the two versions of Le Luxe and the study for La Musique, which date from the spring and summer of 1907.
  
  The present Paysage de Collioure has been ascribed to 1906 or 1907, that is, within the span of Matisse’s second sojourn in his southern retreat, having been painted among a series of related landscapes during the summer, early fall, or winter of 1906, or certainly by the spring of 1907. The later date appears less likely, however, as Matisse had begun at that time to experiment with a more thinly painted, abstractly stylized representation of the landscape, which culminated in the Gelman Collection's Vue de Collioure, dating from that summer, or perhaps completed after his return to Paris in September 1907.
  
  While the large figure compositions took precedence in the studio, Matisse was reluctant to forego the exhilaration he typically enjoyed while working outdoors, taking in that overwhelming effusion of light, while also absorbing the smells of earth, flora, sea, and sky, feeling the frisson of being connected, in the most direct way possible, to the here and now of his surroundings. This practice allowed Matisse, as Jack Flam stated, to “express the pantheistic vitality that he felt in nature” (ibid., p. 166). The artist’s visit to Algeria in May 1906 had been momentous and unforgettable, having opened wide all his senses. Painting in this manner afforded the artist his most authentic contact with the primacy of his sensations—the very essence of being fauve.

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Other paintings by Henri Matisse:

Head of a Leaning Woman (Lorette)

Landscape of the South

The Road (La route)

The Nice Regattas