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La Blouse Roumaine, Fine Art
La Blouse Roumaine, Fine Art
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La Blouse Roumaine

La Blouse Roumaine from Fine Art, Prodi Art, blue, dress, woman, drawing, Henri Matisse, Matisse
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La Blouse Roumaine from Fine Art Decor Image La Blouse Roumaine from Fine Art Zoom Alu Dibond Image
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"
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Wooden frame
1.2 "

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Description
Matisse worked on this canvas for six months, from October 5, 1939 to April 9, 1940. But the origin of the pattern is a little older. As early as 1936, embroidered blouses with wide sleeves clothed the model (then Lydia Delectorskaya) in some of the beautiful pen-and-ink drawings published in Cahiers d'art No. 3-5. Numerous other drawn studies, more or less directly related to the painting, were made at the end of 1939, after Micheline Payot, "dark-haired, beautiful, quick-witted", according to Lydia Delectorskaya's testimony.

Matisse also had some of the most significant stages in the long development of this painting photographed, as had been his habit since 1935, posed by the same model. In a deliberately didactic approach, eleven large framed prints of these photographs were hung on the walls of the Maeght gallery, in December 1945, around the canvas - a demonstration intended by Matisse to make people understand that the "simplicity" he achieved (and that he was criticized for) was not a miraculously attained evidence, but the result of a difficult process of elimination. The same sequence appears in the documentary film made in 1945-1946 by François Campaux.

Matisse worked on this canvas for six months, from October 5, 1939 to April 9, 1940. But the origin of the pattern is a little older. As early as 1936, embroidered blouses with wide sleeves clothed the model (then Lydia Delectorskaya) in some of the beautiful pen-and-ink drawings published in Cahiers d'art No. 3-5. Numerous other drawn studies, more or less directly related to the painting, were made at the end of 1939, after Micheline Payot, "dark-haired, beautiful, quick-witted", according to Lydia Delectorskaya's testimony.

Matisse also had some of the most significant stages in the long development of this painting photographed, as had been his habit since 1935, posed by the same model. In a deliberately didactic approach, eleven large framed prints of these photographs were hung on the walls of the Maeght gallery, in December 1945, around the canvas - a demonstration intended by Matisse to make people understand that the "simplicity" he achieved (and that he was criticized for) was not a miraculously attained evidence, but the result of a difficult process of elimination. The same sequence appears in the documentary film made in 1945-1946 by François Campaux.
About Henri Matisse
The great 20th century artist Henri Matisse with Picasso. His revolutionary use of colour changed painting and led to one of the first avant-garde movements, Fauvism, of which it became a personal and unclassifiable art.

His childhood was not very inspiring: "In my village, if there was a tree on the path, it was uprooted because it gave shade to four beet plants". His father even beat him several times when he caught him drawing "nonsense".

So the young Matisse went to Paris and obtained a law degree, then worked briefly as a lawyer, but in 1889 he had the "fever" of artistic studies. "You are going to die of hunger, you hear me, Henri? ? It's a hobo race...". !", shouted his father.
The man had no idea that his son would be one of the richest and most appreciated artists in France.

Once infected with art, Matisse trained with painters such as Bouguereau and Moreau, but when he met young people who painted without following any rules (Derain, Vlaminck...), he entered a new and unknown pictorial language, based on the free use of colour, expressive vigour and the refusal to be a mere imitation of nature.
They exhibited together at the now mythical Salon d'Automne in 1905, where the critic Louis Vauxcelles called them fauves, a name they proudly adopted. Matisse seemed to confront all the paternal figures that stood in his way.

These contrasting colours, as well as the influence of African sculpture and other primitive cultures, would be the common denominator of this period for the painter, but towards the 1920s, the artist became a little more serene and began to tend towards sensuality, ornamentation and tradition. This is what happens with age...

With success, Matisse sold paintings like hotcakes, just like his colleague/rival Picasso. And like this one, he had one weakness above all others: women.
In poor health, he was always in bed or in a wheelchair. In fact, he had the bed put in the middle of his studio, which was full of young women, models and caretakers running around. His wife Amélie couldn't do much.
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