1064, cat. Moreover, the artist’s own transformation—the “new rhythm” of his inner vision that resulted from his travels—was responsible for the particular luminosity, cool palette, and intimate effect of this canvas. cat. cat., ed. He has made about 9 paintings as well as drawings and prints featuring these tiny creatures. (Gagosian Gallery, 2008), pp. Patricia Hampl, Blue Arabesque: A Search for the Sublime (Harcourt, 2006), pp. pag. Iu. 21, as Goldfish Bowl. 12, no. 305, 475 (ill.), as Woman Before an Aquarium, 1921. 420, 501 (ill.), 513, as Femme aux poissons rouges and Femme et Poissons rouges, 1921 and 1923. 40, cat. cat. 22, 1924, no cat. Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, June 1–Nov. XX, as Femme et poissons rouges and Femme et poissons rouges ouJ eune femme à l’aquarium, 1923. 22, 1923, no cat. (ill.), as Woman before an Aquarium, 1921–23. cat., ed. 515; 1065 (ill.); 1440; 1460; 1465, as Jeune fille à l’aquarium, 1923. Stephanie D’Alessandro, with contributions by Renée DeVoe Mertz, The Age of Picasso and Matisse: Modern Art at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2014), pp. 91, as Femme et poissons rouges, 1921. 63; pl. Zurich, Kunsthaus, Max Beckmann und Paris: Matisse, Picasso, Braque, Léger, Rouault, Sept. 25, 1998–Jan. 4; xiii; 6; pl. [86], fig. In Woman before an Aquarium, the paneled screen and goldfish are pictorial elements drawn from Matisse’s Moroccan journeys. Daniel Catton Rich, exh. 155, fig. 113; 114, fig. (Art Institute of Chicago, 1929), n. 21, as Goldfish Bowl. 128; 129, pl. Christopher E. Fremantle, “Matisse in Philadelphia,” Studio136, 666 (Sept. 1948), p. 95 (ill.), as Woman with an Aquarium, 1924. 136; 182 (detail); 191; 192, fig. 1, 1952), p. 35 (ill.), as Woman Before an Aquarium. pag., no. 119;334, as Femme devant un aquarium, 1923. John Elderfield with Beatrice Kernan, “Plates and Chronology,” in John Elderfield, Henri Matisse: A Retrospective, exh. pag., pp. XX; 360, no. 136; 137, fig. Art Institute of Chicago, Masterpiece of the Month: Woman before an Aquarium by Henri Matisse, Sept. 1950, no cat. cat. Tobia Bezzola and Cornelia Homburg (Saint Louis Art Museum/Kunsthaus Zürich/Taschen, 1998), p. 103, no. Violette de Mazia, “What’s in a Frame?” Barnes Foundation Journal of the Art Department 8, no. 2 (Éditions Bernheim-Jeune, 1995), pp. Lawrence Gowing, Matisse (Thames & Hudson, 1979), pp. Fort Worth, Kimbell Art Museum, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, Oct. 6, 2013–Feb. 6 (June 1926), p. 308 (ill.), as Woman with an Aquarium. (ill.), as Woman with an Aquarium, 1924. cat. Blue and orange, as well as green and red, are complementary colors and, when placed next to one another, appear even brighter. Giles Néret, Matisse (Nouvelles Éditions Français/Casterman, 1991), pp. 19, as Woman before an Aquarium, 1921. Moreover, the artist’s own transformation—the “new rhythm” of his inner vision that resulted from his travels—was responsible for the particular luminosity, cool palette, and intimate effect of this canvas. Translated as Matisse: Rhythm and Line (Clarkson N. Potter, 1987), pp. 973–77; 678; 690, as Woman Before an Aquarium, Femme devant un aquarium (Woman Before an Aquarium), Woman Before an Aquarium (Femme devant un aquarium), 1923. Laura Colombino, International Ford Madox Ford Studies 8 (Editions Rodopi/Ford Madox Ford Society, 2009), pp. In 1903 he visited an Islamic art exhibition at the Musée des Arts Décoratifs, Paris; in 1910 he traveled to Munich for a major display of Islamic objects and then to Spain to see Moorish architecture. Boston Art Club, Birch-Bartlett Collection of Modern French Paintings, exh. It was, however, the physical experience of these lands that proved to have the greatest impact on Matisse’s vision and creativity. 146, as Woman Before an Aquarium, 1923. Guy-Patrice Dauberville and Michel Dauberville, Matisse: Henri Matisse chez Bernheim-Jeune, vol. Even a decade later, while Matisse lived in the southern French city of Nice, these experiences would continue to transform his work. 229 (ill.), 233, as Femme devant un Aquarium. 94, fig. 16, 1930, cat. (ill.), as Woman with an Aquarium, 1924. 2 (Éditions Gallimard, 1971), pp. Providence, Rhode Island School of Design, Modern French Art, Mar. Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), p. 169, cat. Jean Guichard-Meili, Matisse (Éditions Aimery Somogy, 1986), p. 129, as Femme devant un aquarium, 1921. 685–86, as Woman before an Aquarium, 1924. 6 (Dec. 1928), pp. Although he subsequently softened his palette, the bold or… H. D. Femme devant un aquarium, Nice, 1921. 13, 1952, cat. 33, cat. 8, 1925, no cat. Walter J. Sherwood, “The Famous Birch Bartlett Collection,” Chicago Visitor (Oct. 1932), pp. 136, as Woman with a Goldfish Bowl, 1923. 74, as Woman Before an Aquarium, 1923. 10, 19, as Woman Before an Aquarium, 1923. James N. Wood and Katharine C. Lee, Master Paintings in the Art Institute of Chicago (Art Institute of Chicago, 1988), pp. Translated as “Catalogue,” in Max Beckmann und Paris: Matisse, Picasso, Braque, Léger, Rouault, exh. Sign in|Recent Site Activity|Report Abuse|Print Page|Powered By Google Sites, use vibrant colors to evoke an emotional response, thinly applied colors—white of the canvas shows through, art movement that debuted in 1905 in Paris, named from a critic who thought the paintings looked like they'd been painted by "Wild Beasts", inspired by post impressionists (Van Gogh, and Gauguin), stressed a painterly surface with broad flat areas of violently contrasting color, maximize expressive effects by suppressing figure models and color harmonies, one of the biggest figures in the development of modern art (along with Picasso), loved to explore the expressive potential of color and its relation to form, famous for decorative style, expressive forms, bold use of color, went to Morocco, and everyone would stare at goldfish contemplatively all day long, goldfish became a symbol for paradise lost, a tranquil state of mind, "an art that could be....a soothing, calming influence on the mind, something like a good armchair that provides relaxation from fatigue.” - Matisse. 1926), p. 44 (ill.), as Femme devant un aquarium. Nemetsky and I. Vlader, in Hermitage State Museum and Pushkin State Museum of Fine Arts, Henri Matisse: Paintings and Sculptures in Soviet Museums (Aurora Art Publishers, 1978), p. 190 (ill.), as Woman and Goldfish or Young Woman by the Fishbowl, 1921. 55; 112, no. cat. Art Institute of Chicago, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture; Lent from American Collections, ed. “Accessions and Loans,” Bulletin of the Art Institute of Chicago 20, no. 337 (ill.), as Femme devant un aquarium, 1921. “Katalog,” in Max Beckmann und Paris: Matisse, Picasso, Braque, Léger, Rouault, exh. (National Gallery of Art, Washington, DC/Harry N. Abrams, 1986), pp. Daniel Catton Rich, exh. Open today 10–11 a.m. members | 11 a.m.–6 p.m. public. 52 (ill.), as Woman Looking at Aquarium. Chen I-wan (Ogiz-Izogiz, 1937), pp. XX; 360, no. 18, 1956, cat. 2-28, as Kingyobachi no mae no on’na [Woman in front of a fishbowl]/Woman before an Aquarium, 1921. Jack Chen (Lear, 1947), pp. (ill.), as Woman Before an Aquarium. 32, 33 (ill.), 57, as Woman before an Aquarium/(Femme devant un Aquarium—Mlle. Brooks Adams, “Matisse, Belgian Symbolist,” in Brooks Adams et al., “Matisse: A Symposium,” Art in America 81, 5 (May 1993), p. 78, as Woman Before an Aquarium, 1921 or 1923. cat. Henry McBride, Matisse, Modern Art (Alfred A. Knopf, 1930), p. 20; pl. He also collected brilliantly colored and richly ornamented textiles, pottery, and tiles. New York, Museum of Modern Art, Painting in Paris from American Collections, Jan. 19–Feb. Jack Cowart and Dominique Fourcade, “Album of Colorplates” and “Concordance,” in Henri Matisse: The Early Years in Nice, 1916–1930, exh. 11 (ill.), 73, 75 (ill.), as Woman before an Aquarium, 1921–23. Minneapolis Institute of Arts, Exhibition of Modern French Paintings from the Birch-Bartlett Collection, exh. Jason Andrew, “Ford + Biala: A Long and Passionate Dialogue,” Ford Madox Ford and Visual Culture, ed. Painting in Paris from American Collections, exh. 153, 154; [156] (detail); [157], fig. Object information is a work in progress and may be updated as new research findings emerge. Morton Dauwen Zabel, “An American Gallery of Modern Painting,” Art and Archaeology 26, no.
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