Paris, Pierre Tisné, 1954. In-4 relié toile, ill. contrecollée sur 1er plat, 169 p. 140 ill. noir et couleurs (contrecollées). Très bon état (couv. et tranche supérieure légèrement roussies).Notices analytiques par Agnès Humbert.
Reference : 9444
Librairie Ancienne Laurencier
Patrick et Liliane Laurencier
7 rue du Chai des Farines
33000 Bordeaux
France
livresanciens.laurencier@wanadoo.fr
33 05 56 81 68 79
, Taschen, 2009 Hardcover, 480 pages, ENG, 400 x 300 x 80 mm, NEW !! , 2 volumes !, Full Paged Illustrations in colour / b/w, Includes a sturdy hard cardboard box for protection ! Second volume even covered in plastic foil ! Brandnew !. ISBN 9783822830529.
A perfect facsimile of Jazz, a 20th century masterpiece This two-volume edition includes a perfect facsimile of Matisse's seminal cut-out work: Jazz. At last, readers can experience Jazz as if holding the 1947 original. The reputation of Henri Matisse (1869?1954) as the most important artist of the modern era is rivaled only by Picasso?who himself said, "All things considered, there is only Matisse." Towards the end of his monumental career as a painter, sculptor, and lithographer, an elderly, sickly Matisse was unable to stand and use a paintbrush. So at almost 80 years of age, he developed a new technique: he drew shapes on colored paper, cut them out and pasted them together. These gouaches decoup?es (gouache cut-outs) represented a revolution in modern art, yet their simplicity was dismissed by many critics as the folly of a senile old man. Later critics realized that Matisse had found a brilliant solution to the age-old conflict between line and color?one that would profoundly influence generations of artists to come. Printed in exactly the same colors, using paper and inks similar to the 1947 edition, the facsimile volume allows readers to experience Jazz in its original, unbound form. * Printed in 18 colors on a small offset press, 4 pages at a time, to obtain the highest fidelity to the original * Printed on Old Mill in 190 g/m from Italian paper mill Fedrigoni. This paper is of archival quality and has a felt-like softness, much like handmade paper * As with the original, this reprint is unbound and folded in signatures of 4 pages. It is protected by a French folded jacket and a hard-backed cover The second volume provides a thorough historical context to Matisse's cut-outs, tracing their genesis in his 1930 trip to Tahiti, through to his final years in Nice. Also included are other pivotal works from his later career, including his contributions to Verve magazine and his exquisite decoration of the Vence Chapel. Includes rare and historic photographs by Matisse taken in Tahiti, as well as photos of Matisse by Henri Cartier-Bresson, Brassa?, and the filmmaker Murnau. The text is supplemented by quotations from Matisse, Picasso, E. T?riade (the publisher of Jazz and Verve), the poets Louis Aragon, Henri Michaux, and Pierre Reverdy, and Matisse's son-in-law, Georges Duthuit.
Boston, Graphique de France, 1991 Folio with six b/w Henri Matisse art prints, 25 x 31 cm. *fine condition. ISBN 1561490423.
This portfolio contains six art Reproductions of Matisse's works authorised by the Matisse foundation.
, Hazan, 1991 Hardcover with transparent dustjacket, 163 pages, 29 x 23 cm, illustrated, FR. *Good condition. ISBN 9782850252501.
Les fleurs du mal, illustr es par Henri Matisse
Amsterdam, Stedelijk Museum, 1947 Softcover, 12 pages, 13 x 22 cm. Illustrated. *Good condition, cover slightly scratched.
Exhibition folder. Pablo Picasso in het Stedelijk Museum Amsterdam - Henri Matisse in het Stedelijk Museum Amsterdam
, MOMA, N.Y, 2024 Hardback, 224 pages, Dimensions 270 x 230 mm, Color illustrations, English ed. ISBN 9781633451322.
In 2022, The Museum of Modern Art and the Statens Museum for Kunst will present an ambitious dossier exhibition focusing on Henri Matisse?s Red Studio from 1911. The large painting depicts the artist?s work environment in Issy-les-Moulineaux, crowded with his own canvases, sculptures, furniture and decorative objects. Matisse?s radical decision to saturate the work?s surface with red has continued to fascinate generations of scholars and artists.