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拍品專文
Wanda de Guébriant has confirmed the authenticity of this painting.
In 1897, the year after the present work was executed, Henri Matisse had exhibited his first Impressionist painting, La desserte (Private collection). Attacked by many academicians and critics for the novel manner in which he had treated a traditional still-life subject, Matisse found a staunch and loyal defender in Gustave Moreau, his teacher at the Ecole des Beaux-Arts. Although Moreau is not remembered as an avant-garde artist, he was not a strict academician and welcomed experimentation by his students. As Hilary Spurling has noted, Moreau was "open-minded enough to admit at least the possibility of change" (in The Unknown Matisse, Los Angeles, 1998, p. 72). Matisse had only begun to paint seven years earlier during his long period of convalescence following a bout of appendicitis, but already he had developed an original artistic mind, daring and skilled.
The subject matter and composition of Nature morte avec fruits et bouteille owe much to the Northern Renaissance genre painting tradition. Moreau had especially praised La desserte for the artist's detailed rendering of the glassware, a skill also evident in the present work. Anticipating Matisse's later Fauve style with its focus on color over the traditional representational values of Impressionism, paint is heavily applied in varying hues and the still-life subjects are delicately modeled through the use of broad brushstrokes and carefully placed glinting highlights.
Of a similar still life Matisse contributed to the Salon de la Société Nationale des Beaux-Arts in 1896, Paul Flat commented: "Here again, by M. Matisse, two little still lifes that are among the best things at the Salon...[he is a student] of Gustave Moreau and the influence of this master's teaching shows most clearly in the use of harmonious tones" (in "Revue Bleue Politique et Littéraire, Salons de 1896," quoted in J. Flam, ed., Matisse, a Retrospective, exh. cat., New York, 1988, p. 29.
In 1897, the year after the present work was executed, Henri Matisse had exhibited his first Impressionist painting, La desserte (Private collection). Attacked by many academicians and critics for the novel manner in which he had treated a traditional still-life subject, Matisse found a staunch and loyal defender in Gustave Moreau, his teacher at the Ecole des Beaux-Arts. Although Moreau is not remembered as an avant-garde artist, he was not a strict academician and welcomed experimentation by his students. As Hilary Spurling has noted, Moreau was "open-minded enough to admit at least the possibility of change" (in The Unknown Matisse, Los Angeles, 1998, p. 72). Matisse had only begun to paint seven years earlier during his long period of convalescence following a bout of appendicitis, but already he had developed an original artistic mind, daring and skilled.
The subject matter and composition of Nature morte avec fruits et bouteille owe much to the Northern Renaissance genre painting tradition. Moreau had especially praised La desserte for the artist's detailed rendering of the glassware, a skill also evident in the present work. Anticipating Matisse's later Fauve style with its focus on color over the traditional representational values of Impressionism, paint is heavily applied in varying hues and the still-life subjects are delicately modeled through the use of broad brushstrokes and carefully placed glinting highlights.
Of a similar still life Matisse contributed to the Salon de la Société Nationale des Beaux-Arts in 1896, Paul Flat commented: "Here again, by M. Matisse, two little still lifes that are among the best things at the Salon...[he is a student] of Gustave Moreau and the influence of this master's teaching shows most clearly in the use of harmonious tones" (in "Revue Bleue Politique et Littéraire, Salons de 1896," quoted in J. Flam, ed., Matisse, a Retrospective, exh. cat., New York, 1988, p. 29.