Figure au visage coupé assise dans un intérieur , 1929

etching on Chine appliqué on Arches Velin paper

11 x 15 inches

Intérieur au feuillage, 1935

Etching on Chine appliqué on Arches Velin paper

15 x 11 inches

Nu au collier et aux cheveux longs, 1920

etching on Chine appliqué on Arches Velin paper, edition 9/25

11 x 14 13/16 inches

Isaîa, 1938

Linocut on Daragnes paper 22/25

23.8 x 15.7 inches

Orientale à la croix trifoliée, 1929

Lithograph on Arches vellumpaper

25.6 x 19.9 inches

Blouse Romaine, 1939

pencil on paper

16 1/2 x 13 inches

Odalisque à la culotte de satin rouge, 1925

Lithograph on Chine paper

11.2 x 14.4 inches

La robe jaune au ruban noir, 1922

lithograph on Chine paper

21 1/4 x 14 1/8 inches 

La robe d'organdi, 1922

lithograph on Chime paper

21 1/16 x 14 inches

La Persane, 1929

Lithograph on Arches Velin paper

24.8 x 17.5 inches

Henri Matisse

Femme, Robe Longue, assise dans un fauteuil, (Woman, Long Robe, Seated in an Armchair), 1938

pencil on paper

12 7/8 x 10 1/8 inches

Henri Matisse

Portrait de femme aux fleurs, 1947

pencil on paper

24 1/4 x 19 1/4 inches

Odalisque à la cuiotte rayée, reflétée dans la glace, 1923

lithograph on Chine paper

24 7/8 x 18 7/8 inches 

Odalisque au magnolia, 1923

lithograph on Japon paper

19 5/8 x 25 3/8 inches

Odalisque debout au plateau de fruits, 1924

Lithograph on Japon Paper

18.9 x 12.9 inches

Odalisque à la coupe de fruits, 1925

Lithograph on laid China paper

19 x 12.4 inches

Intérieur, la lecture, 1925

Lithograph on Chine paper

15.4 x 12.2 inches

Hindoue à la jupe de tulle, 1929

Lithograph on Chine Paper

16.5 x 20.4 inches

Repos sur la banquette, 1929

Lithograph on Arches Velin paper, Edition 34/50

19.5 x 25.8 inches

Press Release

In a 2018 essay on Henri Matisse’s prints, John Yau reflects on Matisse’s idealization of Jean Dominique Ingres’s sensual line. Ingres, whose masterful articulation of simple—but undoubtedly revolutionary contour—set a tone that Matisse would carry out in lithographs and etchings during the early twentieth century. These works would propel Matisse’s line into one of its most captivating and enigmatic periods, solidifying his mark-making as a direct point of reference for generations of painters. In Yau’s analysis, Matisse “admired the past by making it modern,” by focusing his efforts on the core tenant of all of all masterpieces: the line. Matisse was able to consciously imbue every stroke and contour with modern meaning, energy, and sensuality, which would allow him to capture something of the soul of his subjects. This effortless simplicity would ensnare artists, scholars, and viewers to situate him as a master of the modern era.

Locks Gallery is pleased to present a selection of 1920s prints as well as 1930s drawings, which exemplify the expressive range and capability of Matisse’s line. These works are simple contour drawings depicting subjects deep in concentration, reading or watching fish in vague geometric- and floral-patterned spaces as well as fully-rendered, luxurious interiors that settle around languid nudes whose forward gazes are captured with simple strokes. By presenting these works as a group, the viewer may immerse themself in Matisse's process and glean the foundation of his painted and papercut masterpieces.



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