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拍品专文
Wanda de Guébriant has confirmed the authenticity of this work.
Femme alanguie sur un fauteuil shows a woman reclining in a pose that, despite the fact that she is fully clothed, is nonetheless steeped in the erotic. This picture relates strongly to the Series F pictures from Matisse's Thèmes et variations, which the artist executed in bed, while recuperating from surgery-- in Nice at the Hôtel Régina in 1941. In those works, a woman is shown in various slightly differing poses, but placed in a similar position and a similar composition, a feat that is all the more impressive as some of the works in this group are shown in landscape and others in portrait format.
The working method for the Thèmes et variations involved Matisse creating a charcoal drawing on a certain theme, and then, using it as a springboard, exploring variations of the same concept in pen or pencil. There is a deliberate musicality both to the overarching concept of the series and to the elegant drawings themselves, with their intense internal rhythm, and this is clearly shared by Femme alanguie sur un fauteuil. At the same time, this drawing is filled with a sensuousness that recalls Matisse's images of odalisques; the languid eroticism of the scene is heightened by the artist's elegant, sweeping gestures, which captures the forms of the reclining woman with only a few simple strokes.
In his book Henri Matisse: a novel, the celebrated poet Louis Aragon wrote that it was Femme alanguie sur un fauteuil that had prompted him to write:
'I single out the drawing of a highly voluptuous woman who, with her arms clasped about herself, takes an intense delight in touching, in feeling herself, and whom Matisse has drawn solely for the sake of that enfolding movement, palpable to the senses yet eluding words' (op. cit. pp. 60-61).
Aragon also referred to this as being a drawing of 'the Turkish princess,' indicating that this is an image of Nézy-Hamidé Chawkat, one of Matisse's favourite models who featured in a number of his works between the summer of 1940 and the summer of 1942. Nézy was the great-granddaughter of the sultan Abdul Hamid I, and was living in exile on the Côte d'Azur. Matisse met her while she was walking with her governess in Nice, and encouraged her to sit for him, albeit in the constant company of a chaperone). The artist was fascinated by the fact that she truly embodied so much of the Ottoman splendour, exoticism and sensuality that he had sought to capture in his works.
Femme alanguie sur un fauteuil shows a woman reclining in a pose that, despite the fact that she is fully clothed, is nonetheless steeped in the erotic. This picture relates strongly to the Series F pictures from Matisse's Thèmes et variations, which the artist executed in bed, while recuperating from surgery-- in Nice at the Hôtel Régina in 1941. In those works, a woman is shown in various slightly differing poses, but placed in a similar position and a similar composition, a feat that is all the more impressive as some of the works in this group are shown in landscape and others in portrait format.
The working method for the Thèmes et variations involved Matisse creating a charcoal drawing on a certain theme, and then, using it as a springboard, exploring variations of the same concept in pen or pencil. There is a deliberate musicality both to the overarching concept of the series and to the elegant drawings themselves, with their intense internal rhythm, and this is clearly shared by Femme alanguie sur un fauteuil. At the same time, this drawing is filled with a sensuousness that recalls Matisse's images of odalisques; the languid eroticism of the scene is heightened by the artist's elegant, sweeping gestures, which captures the forms of the reclining woman with only a few simple strokes.
In his book Henri Matisse: a novel, the celebrated poet Louis Aragon wrote that it was Femme alanguie sur un fauteuil that had prompted him to write:
'I single out the drawing of a highly voluptuous woman who, with her arms clasped about herself, takes an intense delight in touching, in feeling herself, and whom Matisse has drawn solely for the sake of that enfolding movement, palpable to the senses yet eluding words' (op. cit. pp. 60-61).
Aragon also referred to this as being a drawing of 'the Turkish princess,' indicating that this is an image of Nézy-Hamidé Chawkat, one of Matisse's favourite models who featured in a number of his works between the summer of 1940 and the summer of 1942. Nézy was the great-granddaughter of the sultan Abdul Hamid I, and was living in exile on the Côte d'Azur. Matisse met her while she was walking with her governess in Nice, and encouraged her to sit for him, albeit in the constant company of a chaperone). The artist was fascinated by the fact that she truly embodied so much of the Ottoman splendour, exoticism and sensuality that he had sought to capture in his works.