Henri Matisse

Yvonne Girbe (the sitter)
Sale: Christie's, New York, 14th May 1999, lot 676
Private Collection, Conneticut (sale: Sotheby's, London, 25th June 2002, lot 186)
Purchased at the above sale by the present owner

The canvas is not lined and UV examination reveals no signs of retouching. There is some light frame-rubbing to the extreme edges. There are a few very fine lines of cracquelure to the yellow pigment. This work is in overall very good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Portrait d'Yvonne reveals the fascination Matisse had for orientalism and is reminiscent of the portraits of his model Lorette with a turban which he had painted a few years earlier. Executed in 1919, this was a period of great change in Matisse’s œuvre as he began to substitute the brighter palette of much of his early work, in favour of more soft and naturalistic tones. His flair and delight in brighter colours still ring through as the lustrous yellow of the sitter’s headwear and bold, luxurious greens of the background reveal. Matisse often used hats and draperies from his personal collection within his compositions such as seen in Femme au turban 1917, in the Baltimore Museum of Art Collection; and it may be that Yvonne was dressed in one of his garments.

The evolution in Matisse’s approach to painting was inspired by several changes in his personal situation and the world around him. As Europe slowly began to recover from the First World War there was a sense of a ‘return to order’ in the artistic community. The artist’s work began to take a softer and more relaxed approach which can be compared with the Neo-Classicism of Picasso at the same time. Matisse was also very much inspired by his move to Cimiez in 1917, a suburb of Nice, which was an area he would call home for much of the remainder of his life. The shimmering mystery of the light and colour in the region ensnared Matisse’s imagination as it had countless artists before him.

Yvonne Girbe was the niece of Monsieur Zaion, an antiquarian, art historian and friend of Matisse. In a letter dated 11th February 1951, Matisse wrote to Girbe confirming that he remembered well painting her portrait decades earlier and expressing his pleasure at her news of its current location.