拍品专文
Matisse had executed shaded charcoal drawings in the early 1920's (see Christie's, New York, May 1, 1996, lot 181) seeking to evoke in terms of subtle chiaroscuro the silvery effects of light in the South of France, and in this medium to create a parallel to the vibrant color in his easel paintings. When he returned to line drawing in the later 1920's, he considered this a form of expression completely independent from painting. In the mid-1930's, however, Matisse sought a new synthesis of line and color, and in his drawings he turned again to the use of richly shaded charcoal.
They are realized entirely in their own terms, and without exception show Matisse's stunning mastery of this especially sensual medium. The tonal gradations are extraordinarily subtle, yet appear to have been realized very spontaneously, and the keen sense of interchange and interaction between linear figure and ground...adds tautness and intensity to their compositions. (exh. cat., The Drawings of Henri Matisse, Arts Council of Great Britain, London, 1984, pp. 118-119)
In these drawings the artist drew, rubbed, erased and repeated the process countless times until his subjects materialized with an almost sculptural presence. While the artist valued his virtuosic ability to work in a pure, unconnected line, the charcoal drawings of the 1930's resonate with a sense of struggle and a preoccupation with the search for a resolution of line and flattened planes.
The sitter in this drawing is Lydia Delectorshaya, who in 1935 became Matisse's chief model, and thereafter his housekeeper and secretary. Many of the charcoal drawings were studies for oil paintings; this drawing is one of a series of preliminary studies for the oil painting Portrait au manteau bleu, 1935 (Private Collection). The final study was drawn on November 20, 1925 (sold, Christie's, New York, Nov. 15, 1989, lot 6; Private Collection), and shows the model three-quarter length and seated in a chair. The present study, drawn the previous day, focuses on the youthful features and personality of the sitter.
Wanda de Guébriant has confirmed the authenticity of this drawing.
They are realized entirely in their own terms, and without exception show Matisse's stunning mastery of this especially sensual medium. The tonal gradations are extraordinarily subtle, yet appear to have been realized very spontaneously, and the keen sense of interchange and interaction between linear figure and ground...adds tautness and intensity to their compositions. (exh. cat., The Drawings of Henri Matisse, Arts Council of Great Britain, London, 1984, pp. 118-119)
In these drawings the artist drew, rubbed, erased and repeated the process countless times until his subjects materialized with an almost sculptural presence. While the artist valued his virtuosic ability to work in a pure, unconnected line, the charcoal drawings of the 1930's resonate with a sense of struggle and a preoccupation with the search for a resolution of line and flattened planes.
The sitter in this drawing is Lydia Delectorshaya, who in 1935 became Matisse's chief model, and thereafter his housekeeper and secretary. Many of the charcoal drawings were studies for oil paintings; this drawing is one of a series of preliminary studies for the oil painting Portrait au manteau bleu, 1935 (Private Collection). The final study was drawn on November 20, 1925 (sold, Christie's, New York, Nov. 15, 1989, lot 6; Private Collection), and shows the model three-quarter length and seated in a chair. The present study, drawn the previous day, focuses on the youthful features and personality of the sitter.
Wanda de Guébriant has confirmed the authenticity of this drawing.