Nu dans un fauteuil, 1929
Oil on canvas
The acid-like intensity of the palette and the schematic rendering of the figure make Nu dans un fauteuil a dynamic example of Matisse's work from the late 1920s.
By the end of 1926, Matisse had moved from his studio at H?tel Méditerranée de la C?te d'Azure to the third floor of I, place Charles Félix. Panoramic views flooded the new studio with light, urging Matisse to experiment with color and space in new ways. The studio's tiled walls allowed for an "intrinsic graph-paper measuring device". As Jack Cowart has noted, "Matisse used the effects of this squaring by offsetting rigid geometry with arabesques or volumetric modeling" (J. Cowart in op. cit., exh. cat., 1986, p. 37).
In Nu dans un fauteuil, Matisse explored these new means with surface effects and the juxtaposition of figure and studio window. Matisse's distinctive exploration of surface is evidenced in the present work by his handling of the paint. Portions of the background are painted flatly with matte colors then scraped through to reveal the canvas beneath. The white of the canvas contrasts with the intense yellow and deep green of the back wall to create the sparkling color effects characteristic of his work from this period. The octagonal design of the floor introduces graphic notions of space while the vertical lines of the back wall compress the pictorial space. The angled lines of the large window and the balcony ledge reach far into the picture leading the eye to the distant sea beyond. The curves of the figure offset the rigidity of the composition to create what Roger Fry has called "équivoque", or the mastery of the duality of painting, "Matisse synthesizes the descriptive and formal functions of painting without serious sacrifice of either" (R. Fry, quoted in A.H. Barr, Jr., Matisse: His Art and His Public, New York, 1951, p. 203).
This period also marks the time in which Matisse moved from working with his model Henriette Darricarrère to a new group of younger models. The model in Nu dans un fauteuil is most likely the young Russian Lydia Delectorskaya, who would remain his loyal secretary and while guarding his privacy. Matisse completed a handful of images in 1929 using the same model and chair. In Nu près de la fenêtre (Dauberville 694) from the same year, Delectorskaya is seen standing in front of the large window wearing the same robe and beaded necklace. A dramatically different version of this same model, probably completed earlier in 1929, is seen in Jeune femme fardée à l'orientale (La Bayadère). The same chair is reproduced in both this and the present work, as are the blue tatoo markings on the décolleté and forehead of the figure.
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