Nu à la chaise longue
Painted in Nice in 1923
Oil on canvas
Henri Matisse painted Nu à la chaise longue in 1923, and within months of its completion, it had entered the collection of the industrialist Henri Canonne, a mark of its quality. Canonne's collection included an incredible array of Impressionist masterpieces including seventeen of Claude Monet's Nymphéas, as well as pictures by Bonnard, Cézanne, Pissarro, Renoir, Signac, Sisley and Vuillard, amongst others; many of these now grace the walls of prominent museums. In the 1930 tome dedicated to that collection by the art critic Arsène Alexandre, Femme nue couchée was picked out for particular praise among Matisse's works because of the 'highly seductive suppleness' of the subject and the fact that it shows this scene in full light rather than exploring any facile contrasts; as Alexandre concluded, 'there is here a double discovery, of drawing, and of colour' (A. Alexandre, op. cit., 1930, p. 123).
That combination of drawing and colour is particularly evident in the body of the model, which sprawls across the expanse of the canvas. Matisse has perfectly conjured the sense of the model's curves, her volume. The looping undulations with which her form has been delineated reveal Matisse's masterful draughtsmanship, and this is particularly evident in the legs, where the outlines are visible. The flesh-tones of this painting dominate the composition and progress across its breadth with a lilting rhythm that fills it with a musicality, and this is accentuated by the deliberate contrast between the continuous flesh and the backdrop, with its vertical divisions separating the swirling garlands of its richly-decorated motif. That patterning serves both to heighten the atmosphere of opulence with which Matisse's studies of nudes and Odalisques are so often suffused and also to emphasise the abstract quality of the composition, a prominent and much-lauded characteristic of his paintings of this period. This abstraction is in turn heightened by Matisse's delicate, harmonious treatment of the light and the colours in Nu à la chaise longue: this is an exquisitely subtle painting which perfectly evokes the realm of pleasure that was so important to Matisse while also demonstrating his exploration of pictorial and plastic forms in two dimensions.
Henri Canonne had purchased Nu à la chaise longue from Matisse's dealers, Bernheim-Jeune, at the beginning of 1924; Bernheim-Jeune in turn had acquired it at the end of 1923, implying that the painting may have dated from the later part of that year. Certainly, in the deliberately muted light in this painting, one may see the Winter light of the South of France, where Matisse was staying at that time (he had also spent a portion of 1923 at his house in Issy-les-Moulineaux in the outskirts of Paris). By this time, he was renting a large apartment on the place Charles-Félix in Nice, which would be his base for almost two decades. As soon as he had moved in, he had sent to Issy for trunkloads of props, costumes and backdrops, and many of these would feature again and again in his works, augmented by the various items he acquired from his great source for such objects, Ibrahim (see H. Spurling, Matisse the Master: A Life of Henri Matisse: The Conquest of Colour, 1909-1954, London, 2005). This allowed Matisse to arrange his studio like a theatrical set, changing its appearance all the time: the screen in Nu à la chaise longue, for instance, can be seen in Nu couché, painted the following year and now in the Barnes Collection, Merion, in which the nude model reclines in a similar pose to that shown here, as well as in L'odalisque à la culotte rouge in the Musée de l'Orangerie, Paris. That work, also from 1924, shows the model clothed and surrounded by various exotic objects that reinforce the notion that in Nu à la chaise longue Matisse was partly using this backdrop to evoke the East.
With her dark hair, her sultry features, her oval face, her grace and her evident comfort in this pose, the model in Nu à la chaise longue appears to be Henriette Darricarrère. Those qualities made Henriette a perfect subject for Matisse, and she featured regularly in his paintings from 1920 to 1927. Henriette showed a great understanding of Matisse's own artistic quest, and was indeed a talented painter in her own right, to the extent that the master came to tutor her. At the same time, it was pertinent that she had first come to Matisse's attention when she was working on a film set; her knack for role-playing made her ideal for the artist's invocations of the world of Odalisques, of oriental luxury and sensuality. While there are no accoutrements of the harem in Nu à la chaise longue, the atmosphere of languid luxury conjured by the richly-ornamented backdrop and by the model herself nonetheless show that this work is closely related to those visions of exotic and even erotic splendour.
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