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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 stopped painting oil paintings in favor of creating paper cutouts.
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 ...
A giant of early 20th century art, whose glamorous figurative paintings of women played an important role in defining Art Deco, is now the subject of her first-ever U.S. retrospective, currently ...
The main body of her photographic works resides mostly in France. Papers and manuscripts written by Adant on the life and work of Henri-Georges Adam and her own work during the time of their marriage is held at the Kandinsky Library at the Pompidou Centre, Paris, donated by Lydia Delectorskaya. [9]
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. [1] Albert Barnes became one of Matisse's most important patrons.
Le bonheur de vivre (The Joy of Life) is a painting by Henri Matisse.Along with Picasso's Les Demoiselles d'Avignon, Le bonheur de vivre is regarded as one of the pillars of early modernism. [1]