1920
Oil on Artist's Board
Painted in 1920, Les Caloges, Etretat is a testament to a period of change in Matisse's oeuvre. He had left Paris three years before, exhausted by the years of war, distraught at having seen his son and his friends leave for the front. Now based in Nice, he could breathe life back into his painting, which had recently become reduced to nervous pieces, executed rapidly as if charged with the troubled atmosphere of the time. The end of the war brought with it an end to any appetite among Matisse's contemporaries for complicated artistic experimentation and many experienced the same desire for calm, a return to a lost equilibrium, to more traditional and reassuring values, with the technique becoming more direct and the subject-matter more figurative.
The quest for "reconciliation between reality and appearances" would lead Matisse in the footsteps of the Realist master Gustave Courbet who, fifty years prior, had majestically painted La Falaise d'Etretat après l'orage (1870; Musée d'Orsay, Paris). Hungry for freedom and open space, Matisse observed nature and variations in light at length, becoming as enthusiastic as if he had just discovered the sight of the sea. His technique was never more brilliant and yet stripped of pomp, more limited in its resources, bold but never brutal in its colours. The balance seen in the present composition is born from an impression of movement and fluidity between bold contrasts: the silhouettes of the figures and the "caloges" (fishermen's shanties whose roofs were formed from upturned dinghies) seem to intersect on the sand, like shadow puppets of a pure, almost brilliant, black. Here Matisse interpreted Nature with a forthright directness, and the scene is imbued with the atmosphere of the surroundings, suggestive of changing light, perhaps stormy weather, and certainly the painter's enthusiasm and love for the landscape.
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