Le ruisseau, Maintenon, 1918
Oil on canvasboard
“I worked in the Impressionist manner, directly from nature, and later I strove for concentration, for a more intense expression with line as well as colour. So I was, of course, obliged in part to sacrifice other values, materials, spatial depth, and richness of detail. Now I want to bring all of this together…” (H. Matisse, 1919, quoted in P. Schneider, Matisse, London, 1984, p. 507).
Against the backdrop of the last years of the Great War, Matisse seems to have found some form of peace through the execution of small-scale landscapes: the fact that he could complete them within a day, and often en plein air, provided him with an achievable task and a chance to find solitude within an intimate natural setting unspoiled by the ravages of the war. Matisse's reinvigorated interest in Landscape painting was also an expression of his renewed interest in the work of the Impressionists. Following the wild days of Fauvism and the exploration into abstraction which followed, Matisse had begun to feel caught between his instinct to explore new frontiers and the accompanying doubts given the questions raised as to where he would end up. In order to shape the theory of his approach.
Matisse entered into several relationships with artists of the preceding generation in an effort to gauge their opinion. From November 1916 he began to correspond with Claude Monet; 1917 saw the start of a 30-year correspondence with Pierre Bonnard; and throughout the spring of 1919 he began regular visits to Pierre-Auguste Renoir at his villa “Les Collettes” at Cagnes-sur-Mer. These various exchanges triggered the growth of an important aspect of Matisse's subsequent artistic persona: his willingness to absorb and use the lessons learned by his artistic predecessors.
Le Petit pêcheur, Maintenon epitomises this quality. Though his discussions with Renoir, Matisse had renewed his admiration for the great founders of late 19th century French painting: Ingres, Courbet and particularly Manet. Several works from the period around 1919 clearly show Manet's influence on Matisse's palette which began to take on colours which had previously been mostly absent: the introduction of blacks and ochres, as well as a more faded and thinned-out selection of greens. The present work is very much in the Manet style, with a palette also clearly adapted to the subject. In Le Petit pêcheur, Maintenon, Matisse pays tribute to Gauguin, with the use of strong silhouettes for the trees and heavy but broken contours for the trees and the house. The foliage against the sky lend the canvas a Cézannian air, but according to Matisse's own writing are also due to his admiration for Corot whom he saw as the greatest of the 19th Century landscape painters. Matisse referred to his landscape works from this period as less significant than his more considered studio pictures. Whilst works such as Le Petit pêcheur, Maintenon no doubt served to provide the artist an escape from his troubles, they also served as a testing ground where he worked out important elements of the style he would go on to develop over the next thirty years.
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