- Henri Matisse
- Le Modèle
- Signed Henri Matisse and dated 4/44 (lower left)
- Pen and ink on paper
- 20 by 14 1/2 in.
- 50.6 by 37 cm
Alex and Rita K. Hillman, New York (acquired from the above March 2, 1955)
Alex Hillman Family Foundation (acquired from the above on October 16, 1968 and sold: Christie's, New York, November 5, 2008, lot 21)
Acquired at the above sale by the present owner
Laramie, The University of Wyoming Art Center, The Hillman Collection, 1972
Jacksonville Art Museum & Corpus Christi, Art Museum of South Texas, The Alex Hillman Collection, 1973-74, no. 4, illustrated in the catalogue
Jamaica Arts Center, Drawings by Modern Masters from the Alex Hillman Family Foundation, 1978.
Roslyn, Nassau County Museum, Modern Masters: Paintings and Drawings from the Alex Hillman Family Foundation, 1977-78, no. 19, illustrated in the catalogue
Selections from the Collection of the Alex Hillman Family Foundation, 1979-85 (this exhibition travelled to ten university art galleries throughout the United States)
The Brooklyn Museum, Exhibition of Works from the Alex Hillman Family Foundation, 1987-88
Phoenix, University of Arizona Art Museum, Paintings and Drawings from the Alex Hillman Family Foundation, 1992
Discussing his interior scenes Matisse wrote that: "My models, human figures, are never just 'extras' in an interior. They are the principal theme in my work. I depend entirely on my model, whom I observe at liberty, and then I decide on the pose which best suits her nature. When I take a new model, I intuit the pose that will best suit her from her un-self-conscious attitudes of repose, and then I become the slave of that pose. I often keep those girls several years, until my interest is exhausted. My plastic signs probably express their souls (a word I dislike), which interests me subconsciously, or what else is there? Their forms are not always perfect, but they are expressive. The emotional interest aroused in me by them does not appear particularly in the representation of their bodies, but often rather in the lines or the special values distributed over the whole canvas or paper, which form its complete orchestration, its architecture. But not everyone perceives this. It is perhaps sublimated sensual pleasure, which may not yet be perceived by everyone" (quoted in Ernst Gerhard Güse, Henri Matisse, Drawings and Sculpture, Munich, 1991, p. 22).