1990s Matisse Prints Framed Matted Signed in Plate

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Matisse Prints Framed Matted Matisse postcard prints printed in 1994. Newly matted and framed in a black frame covered in … Read more Matisse Prints Framed Matted Matisse postcard prints printed in 1994. Newly matted and framed in a black frame covered in plexiglass. This set of postcards includes The Sword Swallower, Ivy in Flower (also known as Lierre en Fleurs) signed in plate, and Blue Nudes VI. Ivy in Flower was a design for a stained-glass window originally created in 1953.
The condition is new, unused, not damaged, and vibrant colors. The art frame is ready for display.
The dimensions of the cards are 4.5” x 6.5” and the framed art measurements are 8” W x 16” H x .5”D.

Only the octogenarian Henri Matisse, having mastered sculpture as well as painting throughout the course of his long life, would have had the audacity to apply sculpting techniques to the very substance of painting, or to sculpt a block consisting purely of colour. His method was new, experimental and perplexed the critics.
Serious illness obliged Matisse to work
Matisse working on a cut-out, Vence, 1947
from bed.
Using sheets of paper which he had previously covered with opaque paints, he cut away at will with a pair of scissors. In this way he created the remarkable album »Jazz« (published in 1947), whose »chromatic and rhythmic improvisations« are reminiscent of the music of Charlie Parker and Louis Armstrong. In »Jazz«, Matisse crystallizes memories of the circus, of fairy tales and travel which he then renders into spirited, sensitive images. In his great harmonious style, Matisse described these with compelling lucidity: »This cutting of colours reminds me of the sharp, direct chiselling of the sculptor... my lines are not crazy...« Ultimately, he succeeds in approaching his own personal goal, the perfect synthesis of line and colour. As Matisse explained,
»There is no break between my early paintings and my gouache cuts, only that I have achieved an absolute, abstract form, reduced to its essence... This is not a departure, but a conclusion.« From this moment on, simultaneity superseded the merging of form and colour. See less