Nature morte: ananas, citrons, 1925
Oil on canvas
22 1/8 x 32 1/8 in. (65 x 81.5 cm.)
Nature morte: ananas, citrons is from the great series of still-lifes that Matisse painted in Nice in 1924 and 1925. This group includes some of the finest still-lifes of Matisse's career. As Alfred Barr has written, "Among the paintings of 1924-25, the most characteristic are the sumptuous still-lifes and studio interiors" (A. Barr, Matisse: His Art and His Public, New York, 1951, p. 212). Furthermore, Barr called the 1920s one of the highpoints of Matisse's life and art:
During the years 1920 to 1925, Matisse worked with unabated energy, producing scores of paintings...in which daring combinations of patterns and colors are achieved with a virtuosity beyond the powers of any other living artist. For many, this period is the most attractive and satisfatory in Matisse's entire career (ibid., p. 208).
Other critics have also shared Barr's enthusiasm for the work of this period. Roger Fry wrote:
Matisse's great popularity is based mainly on the work of the years 1920-1925. At this period in the clear light of his atelier at Nice, amid an Oriental décor and the spoils of the inexhaustible Proven?al gardens, he developed richer, more alluring arabesques of gay and sonorous color than ever before... Matisse is always serenely joyful, always utterly free, always responsive to sensual delights (quoted in J. Flam, ed., Matisse, A Retrospective, New York, 1988, p. 249).
One key factor in Matisse's extraordinary creativity at that time was his strong reaction to the light of the Mediterranean. In 1917, Matisse moved to Nice, and lived there for a least part of every year for the remainder of his life. The artist was immediately struck by the dazzling, almost palpable sunlight of Southern France--and Nature morte: ananas, citrons with its vibrant coloration and warm illumination exudes the freshness and energy of the C?te d'Azur.
In a letter to Charles Camoin from May of 1918, only a few months after Matisse first rented a room in Nice's H?tel Beau-Rivage, the artist discussed his impression of the southern light:
A little while ago I took a nap under an olive tree, and the color harmonies I saw there were so touching. It's like a paradise you have no right to analyze, but you are a painter, for God's sake! Nice is so beautiful! A light so soft and tender, despite its brilliance (quoted in ibid., p. 170).
Decades later, Matisse was still captivated by the brilliant, pulsating light of southern France. In an interview with Louis Aragon in 1943, the artist recalled the effect which his light-filled environs had upon his painting in Nice:
Nice, why Nice? In my work, I have tried to create a translucent setting for the mind. I have found the necessary limpidity in several places around the world: New York, the South Pacific, and Nice... Everything becomes clear, translucent, exact, limpid. Nice, in this sense, has helped me. What I paint, you see, are objects conceived with plastic means. When I close my eyes, I see the objects better than I do with my eyes open, stripped of accidental detail, and that is what I paint" (quoted in ibid., pp. 158-159).
Matisse painted the present work in his third-floor apartment at 1, place Charles Félix, his principal residence between 1921 and 1928, when he moved to a larger suite on the fourth floor of the same building. It is one of approximately fifteen still-lifes that Matisse painted in 1924 and 1925. Here, as in almost all the paintings from this period, Matisse has placed the fruit and flowers on a low table covered with a cloth; the space is relatively shallow, and at the rear, Matisse has referenced the decorative wall covering which forms a strong contrast with the elements in the foreground.
One palpable influence throughout this series is Cézanne. In an article in 1925, Matisse called the artist "a sort of god of painting" (quoted ibid., p. 294). While Matisse does not directly quote Cézanne in any painting in the this series, his influence nevertheless seems present in the sculptural rilievo of the fruit and drapery of Nature morte aux pommes sur nappe rose (fig. 1). Clearly, Matisse enjoyed the dynamic interaction of the real fruit and flowers in the foreground and the fictive, two-dimensional nature of the background.
Matisse also shared Cézanne's custom of using the same, favored objects and motifs repeatedly throughout his career (fig. 2). In essence these familiar, household objects become extensions of the artist's life, of the self, and are most objectified self-portraits, or, at any rate, portraits of the artist's daily life. In Matisse's case this was particularly true because he often included his own sculptures in his still-lifes.
Throughout his career Matisse elevated the genre of still-life to new heights. Matisse's uncanny ability to create harmonies of color and form that can only be described in sublime terms remained with him throughout his career (fig. 3). With still-life there was none of the formal restraint often imposed by the need to attend to the proportions of the human figure. Still-life allowed Matisse to delight in his medium, as is clearly the case with this painting.
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