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  • Henri Matisse
    Dec 31, 1869 - Nov 3, 1954
  • Seated Figure, Striped Carpet - Henri Matisse was an artist often regarded as the most important French painter of the 20th century. He was the leader of the Fauvist movement about 1900, and he pursued the expressiveness of color throughout his career. His subjects were largely domestic or figurative, and a distinct Mediterranean verve presides in the treatment.
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Seated Figure, Striped Carpet
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  • Seated Figure, Striped Carpet

  • Henri Matisse
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  • Figure assise, tapis rayé, 1920
    Oil on canvas

    In 1919, Matisse left Nice temporarily for London to design the costumes and décor for Serge Diaghilev's ballet Le chant du rossignol. When he returned in December of that year, his Southern paradise was not as he had left it. His mentor Pierre-Auguste Renoir, whom Matisse had visited "all through the spring of 1919 in his house, Les Colettes, at Cagnes" had died just a week before (H. Spurling, Matisse the Master: A Life of Henri Matisse: The Conquest of Colour, 1909-1954, London, p. 216). Matisse's usual room at the H?tel de la Méditerranée was unavailable, and the new room had smaller windows and no balcony. His favorite young model Antoinette Arnoud had become otherwise employed, leaving Matisse with a succession of lesser subjects. And in late January 1920, Matisse's mother died, while his daughter Marguerite's laryngo-tracheal problems worsened.

    It is no wonder, then, that the artist took comfort in all those things that "stimulated him most: female models, secluded interiors, flowers, and, above all, light" (N. Watkins, "Matisse: The Early Years in Nice," The Burlington Magazine, 1987, p. 273). If Matisse once famously likened the effect of a visually-pleasing painting to "a good armchair which provides relaxation," the armchair in the present painting can be seen as the artist's own respite from real-life concerns. Indeed, the empty seat in the canvas's upper left seems to beckon the viewer, offering a place of rest within the room's sumptuous surroundings.

    In his essay "Matisse and the Metaphysics of Decoration," Jack Flam points to "the interaction between various levels of materiality in Matisse's painting," which creates "an interpenetration between the imaginary pictorial world of the cloth and the tangible world of real objects" (in Matisse, His Art and His Textiles: The Fabric of Dreams, exh. cat., Royal Academy of Arts, London, 2004, pp. 34 and 37). In the present work, this idea is illustrated by the close visual relationship between the carpet's decorative floral pattern and the real flowers in the vase on the table. Both are executed through the same combination of short strokes and quick dabs. The real flowers' cheerful yellow, however, contrasts with the deeper tones of the rug. These warm reds and pinks can be seen as a tribute to the work of Renoir, Matisse's recently deceased mentor.

    The combination of this floral carpet with the room's red and white striped tablecloth creates a lively juxtaposition. The stripes do find, however, a soothing parallel with the vertical lines at the base of the central chair. This striped tablecloth can be seen in a number of Matisse's canvases of the period, and tracing it throughout his oeuvre is as instructive as it is amusing. In Le peintre et son modèle, intérieur d'atelier from the previous year (fig. 1), this cloth becomes part of an even busier rhythm, and sets off a nude model whose her arms stay unabashedly at her sides, instead of protectively folded. In Le petit déjeuner, also from 1920 (fig. 2), the tablecloth is moved to the extreme foreground, while the decorative floral pattern is shifted from carpet to wallpaper. As in the present painting, the model seems almost caught between these two aggressively dynamic designs. If scholars have often interpreted Matisse's decorative patterns as music, then the model's simple white shift represents a note of silence.

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Other paintings by Henri Matisse:

Woman in the Armchair
Woman in the Armchair
Woman by the Window 1919
Woman by the Window 1919
Odalisque
Odalisque
Young Girl in White Dress, Sitting by the Window
Young Girl in White Dress, Sitting by the Window
Henri MatisseHenri-Émile-Benoit Matisse was a French artist whose career spanned over six decades. He was influenced by Georges Seurat and Paul Signac, who painted in a “Pointillist” style with small dots of color rather than full brushstrokes. Matisse’s creativity came to the fore with sensational canvases such as, Luxe, calme et volupté, Open Window, and Woman with a Hat. Although he was initially labeled a Fauve (wild beast), he found his own style, and began to enjoy a greater degree of success. He travelled to travel to Italy, Germany, Spain and North Africa for inspiration. He signed a contract with the prestigious art dealers of Galerie Bernheim-Jeune in Paris. His art was purchased by prominent collectors such as Gertrude Stein and the Russian businessman Sergei I. Shchukin. In his later career, Matisse received several major commissions, such as a mural for the art gallery of collector Dr. Albert Barnes of Pennsylvania and for the Chapel of the Rosary in Venice. Although his subjects were traditional—nudes, figures in landscapes, portraits, interior views—his revolutionary use of brilliant color and exaggerated form to express emotion made him one of the most influential artists of the 20th century.