Oliviers à Collioure, 1905
Oil and black ink on canvas
Painted during one of the most crucial creative moments in Henri Matisse’s entire career, Oliviers à Collioure illustrates the highly experimental nature of the artist’s work during the seminal summer he spent in secluded seaside town of Collioure. It was here, surrounded by the luminous colours and rich fecundity of the untamed natural landscape of the southern coastline of France, that Matisse began to boldly push beyond the established boundaries of art and experiment with a more spontaneous, expressive means of painting. Focusing on the form of a lone woman as she wanders through a grove of olive trees, the scene is rendered in a flurry of vibrantly coloured brushstrokes, each touch of paint capturing the fervour and energy that Matisse felt before the landscape. The entire summer was devoted to investigating the visual potential of the pointillist language, with the artist exploring and playing with the central tenets of Neo-Impressionism in a series of experiments that would prove fundamental to the development of Fauvism. Indeed, as John Elderfield has explained, Neo-Impressionism was ‘the foundation of Fauvism – but the foundation that Matisse dismantled in order to create Fauvism’ (J. Elderfield, Henri Matisse: A Retrospective, New York, 1992, p. 50). Collioure, with its dramatic play of light and vibrant colours, played a fundamental role in this period of experimentation, feeding Matisse’s imagination and inspiring him to embark upon this revolutionary new path.
Matisse’s first experiences of the Mediterranean coast came in the summer of 1904, when he had spent an extended sojourn in Saint-Tropez, visiting the painter Paul Signac. That June had seen Matisse’s first one-man show open at the Ambroise Vollard gallery, featuring forty-five paintings and one drawing which encapsulated the full range of his oeuvre up to this point. While his work drew complements from the critic Roger Marx, the exhibition was not as commercially successful as the artist had hoped. Despondent and unsure of his next steps, Matisse departed Paris for the summer. Arriving in the South in mid-July with his wife and young son, Matisse felt the impact of his new surroundings immediately. A native of Northern France, he was bowled over by the bright light and bold colours of the sun drenched Midi, as well as the variety of sub-tropical flora which filled the rolling hills as they descended towards the sea. These new surroundings slowly began to shape and influence Matisse’s paintings, brightening his palette, introducing a new sense luminosity to his pigments, and reviving his interest in Neo-Impressionism.
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