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Bridgestone Museum of Art: Still Life with Compote, Apples and Orange: 1899 Oil on canvas: 46.7 × 55.6 cm Baltimore: The Cone Collection, Baltimore Museum of Art: Still Life with Oranges II: 1899 Oil on canvas: 46.7 × 55.2 cm Saint Louis, Missouri: Mildred Lane Kemper Art Museum: Crockery on a Table: 1900 Oil on canvas: 97 × 82 cm St ...
File: Henri Matisse, 1909, Still Life with Dance, oil on canvas, 89.5 x 117.5 cm, Hermitage Museum, Saint Petersburg.jpg
A still life, the painting features "Matisse's own plants, his own garden furniture, and his own fish tank." [2] Additionally, Matisse's "depiction of space" in the piece creates a tension. The goldfish can be seen from two different angles simultaneously: from the front, where the viewer can immediately recognise them, and from above, where ...
File:Henri Matisse, 1899, Still Life with Compote, Apples and Oranges, oil on canvas, 46.4 x 55.6 cm, The Cone Collection, Baltimore Museum of Art.jpg; File:Henri Matisse, 1902, Notre-Dame, une fin d'après-midi, oil on paper mounted on canvas, 72.4 x 54.6 cm, Albright-Knox Art Gallery.jpg
Most of these pieces were oil on canvas still life paintings, but Matisse would produce etchings, drawings, and prints featuring the motif in 1929. Art historians have commented that Matisse's works featuring goldfish explore the themes of contemplation, tranquility, and pictorial space, with Matisse configuring complex arrangements for the latter.
Henri Émile Benoît Matisse (French: [ɑ̃ʁi emil bənwa matis]; 31 December 1869 – 3 November 1954) was a French visual artist, known for both his use of colour and his fluid and original draughtsmanship.
Henri Matisse, the French artist known for his use of vibrant colors, painted “Dame à la robe blanche (Woman in White)” in 1946, depicting Matisse’s neighbor, the journalist Elvire Van ...
In March 1909, Matisse painted a preliminary version of this work, known as Dance (I). [3] It was a compositional study and uses paler colors and less detail. [4] The painting was highly regarded by the artist who once called it "the overpowering climax of luminosity"; it is also featured in the background of Matisse's Nasturtiums with the Painting "Dance I", (1912).
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