Henri Matisse’s 1922 painting “Young Girl Sitting, Yellow Dress” from his Nice period presents a poised model in an interior of coral, lemon, and cool blue. With supple brushwork, shallow space, and decorative motifs, the artist turns a quiet room into a luminous theatre of color and calm.
Henri Matisse’s 1947 cut-out “The Lagoon” arranges green bands, pale passages of light, a wine-red ribbon, and a black coral-like frond between ultramarine and teal borders, translating tide-pool clarity into a crisp rhythm of color and edge from his Jazz period.
In Matisse’s 1947 Jazz plate “The Knife Thrower,” a magenta zig-zag figure hurls abstract “blades” at a pale blue target with raised arms, while blue and black leaf motifs streak across a cream ground, turning circus suspense into a crisp play of color, edge, and rhythm.
Henri Matisse’s 1947 cut-out “The Lagoon,” from the Jazz portfolio, arranges coral-like ribbons of magenta, white, black, green, and blue over a pale aqueous field, turning tide-pool light and drifting sea flora into a lucid play of color, rhythm, and edge.
Henri Matisse’s 1947 cut-out “The Cowboy,” from the Jazz portfolio, turns a roper and his quarry into bold black silhouettes linked by a taut lariat across bands of blue, yellow, green, and cream—an elegant lesson in motion, figure–ground, and color rhythm.
Henri Matisse’s 1947 Jazz plate “Destiny” stages a stark encounter between a looming black mass and a small white figure in a blue, yellow-framed window, using bold cut-paper color—fuchsia, green, ultramarine, black—to turn fate and choice into a clear, architectural drama.
Henri Matisse’s 1947 cut-out “The Swimmer in the Tank,” from the Jazz portfolio, reduces a circus act to essentials—a pale diagonal body crossing black and green panes, bright yellow splashes, and an orange anchor—turning water, breath, and risk into a lucid design of color and edge.
Matisse’s 1947 Jazz plate “The Sword Swallower” pairs bold cut-paper color with handwritten text to stage a performer’s daring act inside a magenta-and-blue proscenium, distilling danger, rhythm, and theater into a few decisive shapes.
Henri Matisse’s 1947 cut-out “Pierrot’s Funeral,” from the Jazz portfolio, stages a bright funeral procession of horse and hearse within a magenta proscenium, scattering yellow petals and a single red emblem to balance elegy with theatrical joy.
Henri Matisse’s 1947 cut-out “The Codomas” turns a trapeze act into pure design—yellow net studded with black squares, bold blue rigging, emerald stage, and serpentine flashes of flight—capturing the circus’s risk and rhythm in his Jazz portfolio.
Henri Matisse’s 1947 cut-out “Forms” pairs two vertical silhouettes—one white carved from blue, one blue pressed into light—to explore figure–ground inversion, rhythm, and the expressive edge of color in his late Jazz-period language.
Henri Matisse’s 1947 Jazz plate “Icarus” reduces myth to pure color and silhouette: a black figure with a red heart floats in ultramarine night amid yellow starbursts, paired with the artist’s handwritten text to create a modern meditation on risk and freedom.
Henri Matisse’s 1947 cut-out “The Heart” arranges a bold red emblem on stacked rectangles of cream, pink, and black against a pale blue field, balancing a dark counterweight at left to turn pure color and figure–ground clarity into a luminous statement of feeling.
Dive into Henri Matisse’s 1947 cut-out “The Wolf,” a Jazz portfolio plate where a white wolf silhouette with a single red eye bites into blocks of ultramarine and magenta, turning color, figure–ground play, and “drawing with scissors” into a vivid emblem.
Henri Matisse’s 1947 cut‐paper gouache “The Horse, the Rider and the Clown” evokes circus dynamism with a rose-pink equine form, a looping yellow rider’s line, black clown-like flourishes, and a cobalt-blue field punctuated by green and yellow accents.
Henri Matisse’s 1947 cut-paper gouache “The Nightmare of the White Elephant” juxtaposes a vivid yellow field with red slashes, a ghostly white elephant form, a blue starburst, and sinuous black vegetal shapes to evoke dreamlike tension and fantastical imagery.
Henri Matisse’s 1947 cut-paper gouache “The Circus” evokes the thrill of the big top through a cobalt-blue field punctuated by a red ring, a yellow “CIRQUE” column, orange letter fragments, white ribbon-like shapes, and a black acrobat silhouette.
Henri Matisse’s 1917 Three Sisters and “The Rose Marble Table” portrays three young women—one seated, two standing—around a softly veined rose‐marble tabletop, set against broad apricot, lemon, and slate panels in a harmonious, flattened interior.