Matisse

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MATISSE, HENRIBiblio.com

Poemes de Charles d'Orleans

Teriade, ed; Henri Matisse, Pablo Picasso, Marc Chagall, Joan Miro, James Joyce, Georges Bataille, Georges Braque, Pierre BonnarBiblio.com

VERVE VOLUME 1: ISSUES 1-4 4 Volume Complete Set: No. 1: December 1937; No. 2: Spring 1938 March-June; No. 3: October - December 1938; No 4: January - March 1939;

1937510540Verve 1937. First Edition. Paperback. FINE. Complete run of the first four issues of Teriade's legendary art magazine. Beginning with a stunning cover produced by Matisse for the first issue Verve would incorporate fresh artwork into its cover designed newly commissioned by artists such as Miro Picasso Chagall and other leading lights of the French art world. Each issue offered spectacular color lithographs printed by the Paris lithographers Mourlot. Early issues came in litho-printed card wrappers in boxes later volumes would be in paper-over board with litho covers. This choce allowed Teriade to feature the fresh lithographic artwork in the cover design but left the books themselves extremely fragile and succeptible to wear. Additionally the full-page lithographs have been continuous targets for art dealers looking to excise the plates. So condition seen here is quite rare with each volume preserved COMPLETE FINE with no signs of the wear and toning so commonly seen. 'The cover of Verve No. 1 is by Henri Matisse; it consists of three unmodulated colors--red blue and black--that the master cut directly from printers' ink specimen books. . Mattisse's cover for the first issue lithographed by Fernand Mourlot printers was an original work of art created expressly for the magazine--as would be practically all of the Verve's covers. . The painter took great pains to make sure that the cover would turn out exactly as he wished. . THe care Matisse lavished on what others might consider a minor undertaking was one of the hallmarks of Teriade's publications. How did he induce the greatest artists of this century to give the very best of themelves . Matisse and Teriade shared a common ideal. For both of them painting was life itself.' Michel Antonioz VERVE: The Ultimate Review of Art and Literature 35-36. Verve paperback

Arches Bookhouse · États-Unis4 950,00 $US≈ 4 188,20 €

Henri MatisseBiblio.com

Henri Matisse Writes of the Lifelong Tension Between Seeing and Being Seen

1949146001949. Henri Matisse. Autograph Letter Signed. One-page handwritten letter written entirely in Matisse's hand and signed "H. Matisse" dated November 2 1949 in French. Written late in his career when he was internationally acknowledged as one of the greatest living artists of the twentieth century the letter offers an unusually candid statement of personal vulnerability. Matisse writes: "Dear Friend I am quite upset about having to write to you that I am too nervous to be able to pose. It is something that has always been painful for me. I have never been able to pose even for Marquet 50 years ago. Please believe dear friend in my regrets and in my best wishes." He signs and dates the letter "H. Matisse 2 nov 49." The language is direct and unguarded emphasizing not inconvenience but distress; "too nervous" "always been painful" and asserting that this reaction was not momentary but lifelong.<br /> <br /> The reference to Albert Marquet is central to the letter's historical and psychological significance. Matisse and Marquet were among the foremost figures of Fauvism having met as students at the École des Arts Décoratifs where they shared formative years living quarters and lasting artistic influence. Matisse's assertion that he "never" could pose "even for Marquet 50 years ago" underscores the depth and permanence of this aversion. By 1949 Matisse's artistic identity depended on control solitude and inward concentration; the act of painting required a carefully managed studio environment and a position of active seeing rather than passive exposure. Being turned into a subject; observed fixed and interpreted by another produced nervousness and pain a reversal of roles that he experienced as psychologically intolerable. That this reaction persisted at the height of his fame and authority reveals not weakness but a fundamental asymmetry at the core of his creative life the necessity of seeing without being seen.<br /> <br /> As a document the letter exposes the psychological tension underlying Matisse's work even though he does not theorize it explicitly. It records the conditions under which creation was possible for him privacy control and emotional insulation and the distress that arose when those conditions were threatened. The letter is an exceptional primary source that illuminates the inner constraints shaping Matisse's practice linking late-career self-knowledge to early avant-garde formation and offering rare autobiographical evidence of the human cost embedded within one of modern art's most confident and influential oeuvres. He Reveals the Inner Conditions Required for His Art to Exist. Condition: The letter is in excellent condition with clean paper strong legibility throughout and a bold well-preserved signature. Overall condition: Excellent. unknown

Max Rambod Inc. · États-Unis4 000,00 $US≈ 3 384,40 €

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