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拍品專文
Matisse's earliest works were dark still lifes and interior scenes (with or without figures) clearly influenced by Northern Renaissance compositions. He first experimented with painting while recovering from appendicitis at his parents' home in northern France and by 1896, Matisse had painted his first truly modern picture, La table de la salle à manger (private collection). As John Elderfield has discussed of this period in the artist's oeuvre:
Once this commitment [to modernism] is made, Matisse's art rapidly changes. During an extended stay in Corsica and Toulouse in 1898-1899, he produced an important group of paintings in high-key, arbitrary colors and with unnaturalistically broken or atomized forms. The still lifes in particular are constructed purely from the relationships between colors, whose descriptive function is only summarily indicated. These 'proto-Fauve' paintings suddenly reveal the nature of Matisse's genius as a colorist: his using color not to imitate light, but to create it.
These paintings also reveal his emerging interest in Neo-Impressionism and in the work of Cézanne. Back in Paris, the latter would predominate. Indeed, Matisse began to emulate Cézanne and would speak of him as a 'god of painting'. Until 1904, an architectonic style concerned with expressing volume as color--through juxtaposed patches of different colors...or through sculptural masses composed of variations of a single color...dominated his production. (J. Elderfield, Henri Matisse, A Retrospective, exh. cat., The Museum of Modern Art, New York, 1992-1993, p. 81)
Once this commitment [to modernism] is made, Matisse's art rapidly changes. During an extended stay in Corsica and Toulouse in 1898-1899, he produced an important group of paintings in high-key, arbitrary colors and with unnaturalistically broken or atomized forms. The still lifes in particular are constructed purely from the relationships between colors, whose descriptive function is only summarily indicated. These 'proto-Fauve' paintings suddenly reveal the nature of Matisse's genius as a colorist: his using color not to imitate light, but to create it.
These paintings also reveal his emerging interest in Neo-Impressionism and in the work of Cézanne. Back in Paris, the latter would predominate. Indeed, Matisse began to emulate Cézanne and would speak of him as a 'god of painting'. Until 1904, an architectonic style concerned with expressing volume as color--through juxtaposed patches of different colors...or through sculptural masses composed of variations of a single color...dominated his production. (J. Elderfield, Henri Matisse, A Retrospective, exh. cat., The Museum of Modern Art, New York, 1992-1993, p. 81)