142–44; 256; 351, nn. Matisse had seen the Spanish artist’s seminal work in his studio in the fall of 1908, and Les Demoiselles D’Avignon greatly influenced the composition and the treatment of the subject matter in Bathers with a Turtle. He reordered the composition, making the figures more 11 (Sept. 11, 1970), pp. 74; 154, as Demoiselles à la rivière ou Les demoiselles à la rivière, 1916–17. Jack Flam, “Chapter 4: Paintings, 1948–1958: Elegies to the Spanish Republic,” in Robert Motherwell, Paintings and Sculpture: A Catalogue Raisonné, 1941–1991, vol. 6–9; 28, fig. A gentleman by the name of Joseph Pulitzer Jr stepped up to the challenge and ensured its survival. 43; 44, n. 20, as Bathers by a river, 1909, 1913, 1916. John Elderfield, The Cut-Outs of Henri Matisse (George Braziller, 1978), pp. Isabelle Monod-Fontaine, Anne Baldassari, and Claude Laugier, Matisse: Œuvres de Henri Matisse (Éditions du Centre Pompidou, 1989), pp. Jahrhunderts, 3rd ed. Frederick Brill, Matisse, Colour Library of Art (Paul Hamlyn, 1967), pp. The Work Historical Moment The Genre The Artist. cat., ed. Xavier Girard, Matisse: La danse, Cahiers Henri Matisse 10 (La Malmaison/Musée Matisse, 1993), p. 54 (ill.), as Les Demoiselles à la rivière and Demoiselles à la rivière, 1916. 6; 10, cat. Robert Motherwell, “Words of the Painter,” New York Times, June 4, 1978, Book Review, p. 12, as Bathers by the River. Four years later, Matisse returned to this canvas, the rejected third image, altering the idyllic scene and changing the pastel palette to reflect his new interest in Cubism. cat. 71, no. John Elderfield, The Drawings of Henri Matisse (Arts Council of Great Britain/Museum of Modern Art, New York/Thames & Hudson, 1984), p. 70, as Bathers by a River, 1916–17. 13; 128; 129, fig. 99, fig. Florant Fels, Henri-Matisse, XXe siècle 3 (Éditions des Croniques du Jour, 1929), pl. Paul Guillaume (a.k.a. Frank Trapp, “Form and Symbol in the Art of Matisse,” Arts Magazine 49, no. 39, 81, as Bathers by a River, 1916. 23, 198, as Bañistas (Baigneuses) and Bathers (Baigneuses), 1916. concerns during the terrible, war torn period during which he completed it. Chika Amano, “Katei ni aru kaiga [Painting in process],”in Matisu-ten [Matisse Exhibition]/Henri Matisse: Processus/Variation, exh. 364; 367–68; 371; 405; 408; 414; 416; 417, fig. (Hazan, 1987), p. 45, as Demoiselles à la rivière, 1916. 16 (ill.); 153, cats. 1–May 4, 1952; San Francisco Museum of Art, May 22–July 6, 1952. 6; 260, as Kawabe no yoku on’na-tachi [Bathing women at the riverside]/Femmes à la rivière, 1909/13/16. Three nude women are looking at a small red turtle. 367 (detail), 374, as Bathers by a River, 1916. John Hallmark Neff, “Henri Matisse: Notes on His Early Prints,” in Matisse Prints from The Museum of Modern Art, exh. Stephanie D’Alessandro, “Re-Visioning Arcadia: Henri Matisse’s Bathers by a River,” in Gauguin, Cezanne, Matisse: Visions of Arcadia, exh. (Tate Publishing, 2002), pp. Clement Greenberg, Henri Matisse, (1869– ), Pocket Library of Great Art (Harry N. Abrams, 1953), pl. 5, 1950, cat. cat. Or were these very turns William T. La Moy and Joseph P. McCaffrey, eds., The Journals of Grace Hartigan, 1951–1955(Syracuse University Press, 2009), pp. Sarah Wilson, Matisse (Rizzoli International Publications, 1992), pp. 43; 93; 127; 129, pl. 1917. Gotthard Jedlicka, Henri-Matisse (Verlag Chroniques du Jour, 1930), pl. x, no. 165; 83, no. New York, Museum of Modern Art, Large Scale Modern Paintings, Apr. Dance (La Danse) is a painting made by Henri Matisse in 1910, at the request of Russian businessman and art collector Sergei Shchukin, who bequeathed the large decorative panel to the Hermitage Museum in Saint Petersburg, Russia.The composition of dancing figures is commonly recognized as "a key point of (Matisse's) career and in the development of modern painting". cat. cat. 77 (detail); 78, n. 59, as Bathers by the Sea. Pierre Schneider, with the collaboration of Tamara Préaud, Henri Matisse: Exposition du Centenaire, exh. Margrit Hahnloser-Ingold, “Matisse und seine Sammler,” in Henri Matisse, exh. Brad Gooch, City Poet: The Life and Times of Frank O’Hara (Alfred A. Knopf, 1993), p. 213, as Bathers by a River. 121, as Baigneuses (Bathers by a River), 1916–17. Lisa Lyons, “Matisse: Work, 1914–1917,” Arts Magazine 49, no. cat. Albert E. Elsen, The Sculpture of Henri Matisse (Harry N. Abrams, c. 1972), pp. Bathers at the river by Henri Matisse. 162, 208, as Kawabe no yoku on’na-tachi [Bathing women at the riverside]. cat. 55; 61 (? 43 (ill.), as Girls Bathing (Au Bord de la Rivière), 1917. (National Gallery, 1998), pp. [4], 6 (ill.), 13, 47 (ill.), 72 (detail), 73, back cover (ill.), as Bathers by a River, March 1909–10, May–November 1913, and early spring 1916–October (?) 5, 5f–n, 10, 10b, 10g, 10i–10o, 16, 16a–i, 16m–p, 21, 21a–21d, 21g–21k, 46, 46a–s, 54, 54a, 54d–e (ill.), as Bathers by a River, March–May 1909, fall 1909–spring 1910, May 1913, early November 1913, early spring–November 1916, January–October (?) 1434, cat. Masayuki Tanaka, Chika Amano, and Département des Affaires Culturelles du Yomiuri Shimbun (Musée national d’art occidental, 2004), pp. 11; 30; 31, nn. 110; 111, fig. 1 (1990), pp. 154 (color ill.), 156, as Baigneuses à la rivière, 1909/10, 1913, 1916/17. John Golding, Matisse and Cubism, W. A. Cargill Memorial Lectures in Fine Art 6 (University of Glasgow Press, 1978), p. 18, as Baigneuses, 1916–17 and Bathers by a river, 1916–17, begun in 1909 or 10. 199; 200; 354, n. 26, as Bathers by a River and Bathers by a Stream. 8 (detail), as Bathers by a river, 1916. diss., City University of New York, 2000), pp. David Carrier, “‘You, too, are in Arcadia”: The Place of the Spectator in Matisse’s Shchukin Triptych,” Word and Image 10, no.
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