UN BEAU MATIN D'ETE, 1905
Signed Henri Matisse (lr)
Oil on canvas
16 x 12 3/4 inches (40.5 x 32.4 cm)
Galerie Druet, Paris, 1908, no.2877
Professor Braune, Breslauer, Germany, acquired in 1908
Galerie Thannhauser, Luzern, December 16, 1926, no.1123
Galerie Matthiesen, Berlin, 1927
Charles H. Worcester, 1928
Helen Worcester Bradley, gift from Charles Worcester
By descent to the present owner
Ceret, France, Musee d'art moderne Ceret, Matisse-Derain Collioure 1905, un ete fauve, June 18-October 2, 2005
Le Cateau-Cambresis, France, Musee Matisse, October 22, 2005-January 22, 2006
Musee d'art moderne, Ceret and Musee Matisse le Cateay-Cambresis, Matisse-Derain Collioure 1905, un ete fauve, Gallimard 2005, p.81, no.8, illustrated
Matisse painted Un beau matin d''t' in the summer of 1905, during a fourteen-week stay at Collioure, a picturesque fishing village on the Mediterranean by the foothills of the Pyrenees near the Spanish border. It was among the fifteen canvases, forty watercolors, and one hundred drawings that Matisse produced at Collioure that summer. The painting is significant because it was then that Matisse, accompanied by Andr' Derain (1880-1954), abandoned Neoimpressionism and began to paint in a manner that emphasized brilliant, but deliberately unnatural, even distorted color.
Collioure was beginning to attract tourists in 1905, evolving into its present status as a fashionable resort. An early guidebook to the area drew attention to its "intense light, this perpetual dazzlement, that gives a northerner an impression of a new world," and noted that "one is struck above all by the bright light, and by colors so strong and so harmonious that they possess you like an enchantment." These surroundings inspired Matisse to paint such masterpieces as Portrait of Mme Matisse, or The Green Line (Statens Museum for Kunst, Copenhagen) and The Open Window, Collioure (private collection).
Shortly after returning to Paris at the end of the summer, Matisse and his followers exhibited their controversial paintings in the notorious Salle VII at the Salon d'Automne. The critic Louis Vauxcelles referred to these radical works as having been painted by fauves, or wild beasts, from which the first modern art movement of the twentieth century soon came to be known.
This work is accompanied by a photocertificate of authenticity from Mme. Wanda de Guebriant.
This work is listed in the archives of the artist as number PY I22.
Additional Notes & Condition Report
Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.
No condition report? Click here to request one.