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拍品專文
For Matisse, the act of drawing became virtually an obsession. For much of his early career, drawings held a subordinate role in Matisse's work, serving as a means of solving compositional problems that the artist encountered in his works on canvas. By the second half of his career drawing had become central to his art, and acted as a catalyst for changes in his painterly aesthetic. By the time Matisse had drawn Femme nue couchée, he had synthesized his fondness for lavish interior subjects like those painted in Nice with the simplified grandeur of his drawings; color and drawing were at once united.
Femme nue couchée was drawn with the sensitivity of a colorist. Matisse aimed for "luminous space"; tonal and value accents allow for the play of light and shadow across the sheet. In the artist's own words, "In spite of the absence of shadows or half-tones expressed by hatching, I do not renounce the play of values or modulation. I modulate with variations in the weight of line, and above all with the areas it delimits on the white paper. I modify the different parts of the white paper without touching them, but by their relationships" (quoted in The Sculpture and Drawings of Henri Matisse, exh. cat., The Museum of Modern Art, New York, 1984-1985, p. 117).
Femme nue couchée was drawn with the sensitivity of a colorist. Matisse aimed for "luminous space"; tonal and value accents allow for the play of light and shadow across the sheet. In the artist's own words, "In spite of the absence of shadows or half-tones expressed by hatching, I do not renounce the play of values or modulation. I modulate with variations in the weight of line, and above all with the areas it delimits on the white paper. I modify the different parts of the white paper without touching them, but by their relationships" (quoted in The Sculpture and Drawings of Henri Matisse, exh. cat., The Museum of Modern Art, New York, 1984-1985, p. 117).