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This painting is an example of Henri Matisse's mature decorative style. Matisse depicts his model and companion of many years, Lydia Delectorskaya, in an exotic Moroccan clothing, surrounded by a complex of abstract design and exotic color. [1] This is an example of one of the final groups of oil paintings in Matisse's career, in 1950 he ...
Lydia Nikolaevna Délectorskaya (23 June 1910, Tomsk - 16 March 1998, Paris) was a Russian refugee and model best known for her collaboration with Henri Matisse from 1932 onwards. [ 1 ] [ 2 ] [ 3 ] Early life
Although the Centre Pompidou cites Lydia Delectorskaya as the original model, [1] other candidates for the inspiration for the painting include Elvira Popescu, Elena Văcărescu, Anna de Noailles and Marthe Bibesco. [2] Matisse painted ten versions of La Blouse Romaine from 1939 to 1945. [3]
Matisse's wife Amélie, who suspected that he was having an affair with her young Russian emigre companion, Lydia Delectorskaya, ended their 41-year marriage in July 1939, dividing their possessions equally between them. Delectorskaya attempted suicide by shooting herself in the chest; remarkably, she survived with no serious after-effects, and ...
Deux fillettes, fond jaune et rouge (Two Girls in a Yellow and Red Interior) (1947), oil on canvas, 61 x 49.8 cm (24 x 19 5/8 inches) is a painting by Henri Matisse in the collection of the Barnes Foundation, Merion, Pennsylvania.
Matisse was intentional about maintaining the realistic qualities of objects even as he experimented with the colors of their surrounding environment. For example, the lemons on the table are yellow and maintain a realistic shape and size. [1] The woman in the painting provides a sense of reality in the painting. The woman is proportional to ...
It is an example of the style that Matisse employed during his early period of Fauvism. The painting has been in the collection of The Hermitage , St. Petersburg, Russia since 1948. It was originally part of the Sergei Shchukin collection, and then was at the State Museum of New Western Art in Moscow.
An example of Matisse's paintings after the colorful revolution of his Fauvism period. After several trips outside France Matisse became interested in the Islamic art of North Africa. He visited Morocco in 1912 and 1913. Window in Tangier, with its bold color and flat perspective reflects a Moroccan influence in Matisse's work.