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Icarus I | Henri Matisse | 1947

Icarus I | Henri Matisse | 1947

€32,95
€32,95
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About the artwork:

"Icarus II" by Henri Matisse, painted in 1944, is a captivating exploration of the myth of Icarus, the figure from Greek mythology who famously flew too close to the sun. In this painting, Matisse presents a dynamic composition featuring bold colors and abstract forms that convey a sense of movement and energy. The central figure of Icarus is depicted with sweeping lines and vibrant hues, suggesting his flight through the sky. Matisse's use of color and form creates a striking visual impact, capturing the drama and excitement of the mythological narrative. Through "Icarus II," Matisse invites viewers to contemplate themes of ambition, risk-taking, and the consequences of hubris, while showcasing his innovative approach to composition and expression.

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  • Title Icarus (Icare), plate VIII from JazzvidIQOpus 4.7 Adaptativo
  • Artist Henri Matisse (French Fauvist and Modernist; Le Cateau-Cambrésis, 31 December 1869 - Nice, 3 November 1954)
  • Year of creation 1947 (the Jazz portfolio was published by Tériade in Paris in 1947, though the source cut-outs were created between 1943 and 1946 while Matisse was convalescing at Vence after intestinal cancer surgery. The publisher Stratis Eleftheriades [Tériade] had commissioned Matisse in 1942 to make a book of color images, initially conceived as a book on the circus to be titled Le Cirque. Matisse later incorporated subjects from mythology and travel, and in 1944 decided to add accompanying handwritten texts that serve as "breathing spaces between the vibrantly coloured images." Icarus, plate VIII, is the most iconic image of the suite — a black silhouette of a falling figure with a tiny bright red heart, on a brilliant blue background scattered with yellow sunbursts. According to notes by Matisse's secretary and nurse Lydia Delectorskaya, Matisse described the work as referring to Icarus who "with a passionate heart falls out of the starry sky" — possibly in relation to Matisse's concerns for his wife, daughter and son, who were involved with the French Resistance. The image also references the trapeze act in which a seated performer catches their partner with their legs. Matisse later considered the cut-out technique the resolution of his life-long tension between form and color: "It is not a beginning, it is an endpoint")
  • Technique/Medium Pochoir (stencil) in gouache colors on paper, with accompanying photolithograph text; printed by Edmond Vairel, text printed by Draeger Frères, published by Tériade, Paris (Éditions Verve). The pochoirs reproduce Matisse's original 1943-46 paper cut-out maquettes — what the artist called "drawing with scissors"
  • Original dimensions Composition approximately 41 x 27 cm; full unfolded sheet 42.2 x 65.3 cm; folded page 42.2 x 32.8 cm
  • Collection/Museum Multiple impressions held in major museum collections worldwide as Jazz was published in an edition of 250, plus a portfolio edition of 100 and 20 hors commerce copies (notable holdings include the Centre Pompidou, Paris [the original 1943 gouache-on-paper cut-out maquette]; the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York [Gift of Lila Acheson Wallace, 1983; 1983.1009(8)]; the Art Institute of Chicago; the National Galleries of Scotland; the Norton Simon Museum; and the Fine Arts Museums of San Francisco)

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