Painted in Collioure, 1907
Oil on canvas
The months that Matisse spent at Collioure during the first decade of the twentieth century--the summers of 1905, 1906, and 1907 (fig. 1), as well as the winter between the last two--were critical to the formation of his artistic vision. It was at Collioure that his experimentation with form and color flowered first into Fauvism, and then into the flattened, highly reductive style that would rival Cubism as the most advanced method of modern painting between 1908 and 1914. Painted at Collioure in the late spring of 1907, Les Pivoines combines the varied, gestural brushwork of Fauvism with the abstract, intangible space of Matisse's revolutionary decorative mode. Within weeks of its creation, it was acquired for the Galerie Bernheim-Jeune by the critic Félix Fénéon, said to possess the most discerning eye for modern art in all of Paris. The painting was featured in an exhibition of still-lifes at Bernheim-Jeune in November 1907, and Matisse still considered it sufficiently innovative and important that he included it in a solo retrospective at the gallery in 1910, intended to demonstrate his steady progression toward a reinvigorated modern art. Jack Flam has written, "For two years [1906-1907] Matisse moved indirectly but nevertheless steadily toward the formulation of a space that was flat and largely intangible. Having already moved away from light and atmosphere, he was now moving away from consistent three-dimensionality. The illusionary space behind the picture plane and the real flat surface of the painting were being framed within a new harmonic and pictorial structure. The ideal of Matisse's painting was increasingly becoming a decorative one--decorative not in the pejorative sense of superficial but rather in the abstract musical sense with which the term was associated at the time" (Matisse, The Man and His Art, 1869-1918, Ithaca, New York, 1986, p. 215).
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