HENRI MATISSE. 1869-1954

224 THE BOTTLE OF SCHIEDAM. 1896

Oil on canvas. 73.2 X 60.3 cm. Inv. No 3392 Signed and dated lower right: Henri Matisse. 1896, The picture was bought by Ivan Morozov from Bern-heim Jeune in Paris in 1911 for 1,500 francs. It is the earliest Matisse to be found in Soviet museums. The canvas was painted in 1896, when Matisse worked extensively in The Louvre, copying the Old Masters.

Provenance: until 1911 The Bernheim Jeune Collection, Paris; 1911—18 The I. Morozov Collection, Moscow;

1918-48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1955 Moscow, Cat., p. 44; 1956 Leningrad, Cat., p. 37; 1969 Moscow, Leningrad, Cat. 1 Bibliography: Кат. ГМИИ 1957, p. 88; Кат. ГМИИ 1961, p. 120; Маковский 1912, p. 22; Ternovetz 1925, p. 484; Кат. ГМНЗИ 1928, No 345; Reau 1929, No 957; Cahiers d'Art 1950, p. 343; Кат. выст. Матисса 1969, p. 62, No 1, ill. p. 21

224 THE BOTTLE OF SCHIEDAM. 1896

225 BLUE JUG

Oil on canvas. 59.5 X 73.5 cm. Inv. No 3393 In the early 1900s several still lifes by Matisse with the blue jug motif were exhibited in the Salon des Independents and at Vollard's. The Moscow picture was painted apparently in 1899—1900. It was bought by Ivan Morozov from Ambroise Vollard in Paris in 1909 for 2,000 francs.

Provenance: until 1909 The A. Vollard Collection, Paris; 1909—18 The I. Morozov Collection, Moscow; 1918—48 The Museum of Modern Western Art, Mos-

cow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1955 Moscow, Cat., p. 44; 1956 Leningrad, Cat., p. 38; 1967-68 Odessa, Kharkov, Cat. 26; 1969 Moscow, Leningrad, Cat. 5; 1969—70 Prague, Cat. 2

Bibliography: Кат. ГМИИ 1957, p. 88; Кат. ГМИИ 1961, p. 120; Кат. ГМНЗИ 1928, No 348; Reau 1929, No 960; Cahiers d'Art 1950, p. 343; Diehl 1954, pp. 116, (401), (402); Кат. ЕЫСТ. Матисса 1969, p. 62, No 5, ill. p. 22

225 BLUE JUG

226 CORSICAN LANDSCAPE WITH OLIVES. 1898

Oil on canvas. 38 X 46 cm. Inv. No 4108 Signed and dated lower right: H. Matisse. 98 The landscape was painted during Matisse's travels in Corsica in 1898. Its light color scheme and brisk dynamic brushstrokes, combined with an evident interest in conveying the play of sunlight, are a tribute to Impressionism. The radiant contrasts of bright color patches are already indicative of Fauvism. The picture was presented to The Pushkin Museum by Ly-dia Delectorskaya in 1970.

Provenance: until 1947 The Vassaux Collection, Saint-Saens; 1947—70 The L. Delectorskaya Collection, Paris; since 1970 The Pushkin Museum of Fine Arts, Moscow Exhibitions: 1958 Paris; 1970 Paris, Cat. 22

226 CORSICAN LANDSCAPE WITH OLIVES. 1898

227 BOIS DE BOULOGNE. 1902

Oil on canvas. 65 X 81.5 cm. Inv. No 3320 Signed and dated lower left: Henri-Matisse 1902 In 1902—4 Matisse painted several views of the Bois de Boulogne which figured more than once in the exhibitions of the Salon d'Automne, the Salon des In-dependants and in the Vollard Gallery. Provenance: until 1918 The S. Shchukin Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1939 Moscow, Cat., p. 53; 1955 Moscow, Cat., p. 44; 1956 Leningrad, Cat., p. 38; 1965 Bordeaux, Cat. 87; 1965—66 Paris, Cat. 86; 1968 London, Cat. 85; 1969 Moscow, Leningrad, Cat. 9; 1970 Paris, Cat. 48

Bibliography: Кат. ГМИИ 1961, p. 120; Кат. собр. С.Щукина 1913, No 118, pp. 28—29; Тугендхольд 1914, ill. p. 56; Кат. ГМНЗИ 1928, No 308, p. 11; Перцов 1921, No 118; Reau 1929, No 922; Cahiers d'Art 1950, p. 343; Barr 1951, pp. 44, 51, 106, ill. 308; Diehl 1954, p. 26, 116, (403), 117 (37); Кат. выст. Матисса 1969, p. 63, No 9, ill. p. 26

227 BOIS DE BOULOGNE. 1902

228 SPANISH WOMAN WITH A TAMBOURINE. 1909

Oil on canvas. 91.6 X 73.2 cm. Inv. No 3297 Signed and dated lower left: Henri Matisse 1909 Provenance: The Bernheim Jeune Collection, Paris; until 1918 The S. Shchukin Collection, Moscow; 1918— 48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow Exhibitions: 1911 Paris (Salon des Independants), Cat. 6740; 1955 Moscow, Cat., p. 45; 1956 Leningrad, Cat., p. 38; 1966—67 Tokyo, Kyoto, Cat. 68; 1967—68 Odessa, Kharkov, Cat. 25; 1969 Moscow, Leningrad, Cat. 23; 1970 Paris, Cat. 92; 1974—75 Paris (Grand Palais), Cat. 188; 1975 Moscow Bibliography: Кат. ГМИИ 1957, p. 88; Кат. ГМИИ

1961, p. 120; Кат. собр. С. Щукина 1913, No 102, pp. 24—25; Перцов 1921, No 102, p. Ill; J. Elias, "Nach der Heroischen Zeit", Kunst und Kunstler, 1918—19, ill. p. 230; Ternovetz 1925, p. 483, ill.; Кат. ГМНЗИ 1928, No 322; Reau 1929, No 936; Ромм 1935, p. 53, ill.; Cahiers d'Art 1950, p. 343; Barr 1951, PP. 106, 130, 134, No 6, ill. 352; Diehl 1954, p. 46; Sterling 1957, ill. 145; Матисс 1958, ill.; Прокофьев 1962, ill. 180; Кат. выст. Матисса 1969, p. 65, No 23, ill. p. 40

228 SPANISH WOMAN WITH A TAMBOURINE. 1909

229 CORNER OF THE STUDIO

Oil on canvas. 191.5 X 114 cm. Inv. No 3302

A companion piece to The Studio with "La Danse" (see plate 231), this picture was painted in 1912. Provenance: 1912—18 The S. Shchukin Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1969 Moscow, Leningrad, Cat. 42; 1972 Prague, Cat. 25

Bibliography: Кат. ГМИИ 1961, p. 121; Кат. собр. С. Щукина 1913, No 123, pp. 28—29; Тугендхольд 1914, p. 42; Перцов 1921, No 123, p. 112; Кат. ГМНЗИ 1928, No 332; Reau 1929, No 946; Cahiers d'Art 1950, p. 343; Barr 1951, p. 157; Кат. выст. Матисса 1969, p. 69, No 42, ill. p. 56

229 CORNER OF THE STUDIO

230 IRISES, ARUMS AND MIMOSAS. 1913

Oil on canvas. 145.5 X 97 cm. Inv. No 3303 Signed and dated lower left: Henri Matisse tanger 1913

As follows from the date and signature on the picture, this still life was painted at Tangier in 1913. Provenance: 1913—18 The S. Shchukin Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1913 Paris (Bernheim Jeune Gallery); 1955 Moscow, Cat., p. 45; 1956 Leningrad, Cat., p. 39; 1969 Moscow, Leningrad, Cat. 48; 1969—70 Prague, Cat. 13

Bibliography: Кат. ГМИИ 1957, p. 89; Кат. ГМИИ 1961, p. 121; Кат. собр. С. Щукина 1913, No 125, pp. 28—29; Перцов 1921, No 125, p. 112; Кат. ГМНЗИ 1928, No 334; Reau 1929, No 948; Cahiers d'Art 1950, p. 343; Barr 1951, pp. 159, 206, 215, ill. 389; Diehl 1954, pp. 69, 117; Алпатов 1969, p. 48; Кат. выст. Матисса 1969, p. 70, No 48, ill. p. 57; Antonova 1977, No 141

230 IRISES, ARUMS AND MIMOSAS. 1913

231 THE STUDIO WITH "LA DANSE"

Oil on canvas. 190.5 X 114.5 cm. Inv. No 3301 Signed lower right: Henri Matisse In the summer of 1912 Matisse painted two panels on this theme in his studio at Issy-les-Moulineaux, one of which is the Moscow canvas; the other is in the Worcester Museum, Mass. (USA). The picture now in The Pushkin Museum was bought by Sergei Shchukin from Matisse in 1912.

Provenance: The artist's collection, Paris; 1912—18 The S. Shchukin Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow Exhibitions: 1912 Paris (Salon d'Automne), Cat. 769; 1958 Brussels, Cat. 210; 1965 Bordeaux, Cat. 90; 1965—66 Paris, Cat. 90; 1967 Montreal, Cat. 138; 1969 Moscow, Leningrad, Cat. 41; 1969—70 Prague, Cat. 12; 1972 Otterloo, Cat. 34; 1973 Washington, Cat. 25

Bibliography: Кат. ГМИИ 1961, p. 121; Кат. собр. С. Щукина 1913, No 121, pp. 28—29; Перцов 1921, No 121, p. 112; Кат. ГМНЗИ 1928, No 331; Reau 1929, No 945 (entitled La Danse autour des capucines); Ромм 1935, p. 29; Cahiers d'Art 1950, p. 343; Barr 1951, pp. 127, 144, 148, 156, 157, 537, 555, ill. 382; Diehl 1954, pp. 68, 138, 154, ill. 57; Musee de Moscou 1963, p. 206, ill.; Алпатов 1969, p. 47; Кат. выст. Матисса 1969, p. 69, No 41, ill. p. 57; Antonova 1977, No 139

231 THE STUDIO WITH "LA DANSE"

232 FLOWERS IN A WHITE VASE

Oil on canvas. 81.5 X 100.5 cm. Inv. No 3298 Signed lower left: Henri Matisse The picture was painted in 1909.

Provenance: The F. Feneon Collection, Paris (?); until 1918 The S. Shchukin Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow Exhibitions: 1955 Moscow, Cat., p. 45; 1956 Leningrad, Cat., p. 49; 1966—67 Tokyo, Kyoto, Cat. 69; 1969 Moscow, Leningrad, Cat. 22; 1969—70 Prague, Cat. 9

Bibliography: Кат. ГМИИ 1957, p. 89; Кат. ГМИИ 1961, p. 120; Кат. собр. С.Щукина 1913, No 107, pp. 26—27; Кат. ГМНЗИ 1928, No 339; Reau 1929, No 954; Cahiers d'Art 1950, p. 343; Кат. выст. Матисса 1969, p. 65, No 22, ill. p. 37

232 FLOWERS IN A WHITE VASE

233 STATUETTE AND VASE

ON AN ORIENTAL CARPET. 1908 Oil on canvas. 88.5 X 105 cm. Inv. No 3296 Signed and dated lower left: Henri Matisse 1908 The sculpture Madeleine I depicted here is the work of Matisse, who frequently introduced his earlier sculptures and paintings into his pictures. It is a study for The Red Room (The Hermitage, Leningrad). Provenance: 1908—18 The S. Shchukin Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1908 Paris (Salon d'Automne), Cat. 897; 1955 Moscow, Cat. 45; 1956 Leningrad, Cat., p. 38; 1969 Moscow, Leningrad, Cat. 18; 1970 Paris, Cat. 90 Bibliography: Кат. ГМИИ 1957, p. 88; Кат. ГМИИ 1961, p. 120; Кат. собр. С.Щукина 1913, No 101, pp. 24—25; Тугендхольд 1914, p. 42, ill. p. 56; Пер-цов 1921, No 101, p. Ill; Тугендхольд 1923, ill. p. 71; Кат. ГМНЗИ 1928, No 316; Reau 1929, No 933; Ca-hiers d'Art 1950, p. 343; Barr 1951, pp. 106, 124, 129, ill. 343; Diehl 1954, p. 138; Sterling 1957, ill. 136, p. 178; ГМИИ 1966, No 105; Кат. ЕЫСТ. Матисса 1969, p. 64, No 18, ill. p. 33

233 STATUETTE AND VASE

234 VIEW FROM THE WINDOW. TANGIER - Oil on canvas. 115 X 80 cm. Inv. No 3395

Painted at Tangier at the beginning of 1912, this picture presents a view from the window of the Hotel de France where Matisse was staying. The landscape constitutes the left hand part of what is |known as The Moroccan Triptych (The Pushkin Museum of Fine Arts, Inv. Nos 3396, 4058). Art historians do not usually believe that Matisse conceived the three paintings as a single whole; their inclusion in a triptych was often ascribed to Ivan Morozov. However, in his letter to Morozov of April 19, 1913, preserved in the Archives of The Pushkin Museum, Matisse points out that the pictures are conceived so as to hang together and in a definite order. In the same letter the artist made a pen drawing of how the pictures should be placed on the wall. All three parts of the triptych were bought by Morozov from Matisse in 1913 for 8,000 francs each. There is a drawing of 1912 (pen and ink) for View from the Window. Tangier, depicting the same motif. Provenance: until 1913 The artist's collection, Paris; 1913—18 The I. Morozov Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow; from 1956 to 1962 was on a permanent display in The Hermitage, Leningrad

Exhibitions: 1913 Paris (Bernheim Jeune Gallery); 1913 Berlin; 1969 Moscow, Leningrad, Cat. 43, 44, 45; 1970 Paris, Cat. 116a, 116b, 116c

Exhibitions where View from the Window. Tangier was shown: 1939 Moscow, Cat., p. 53; 1955 Moscow, Cat., p. 45; 1962 Venice, Cat. 16; 1968 London, Cat. 47 Bibliography: Кат. ГМИИ 1957, p. 89; Кат. ГМИИ 1961, p. 121; Ternovetz 1925, p. 484; Кат. ГМНЗИ 1928, No 353; Reau 1929, No 965; Cahiers d'Art 1950, p. 343; Barr 1951, PP. 145, 154, 159, 165, ill. p. 386; Матисс 1958, ill.; Алпатов 1969, p. 57; Кат. выст. Матисса 1969, p. 69, No 43, ill. p. 54; Antonova 1977, No 140

234 VIEW FROM THE WINDOW. TANGIER - Oil on canvas. 115 X 80 cm. Inv. No 3395

235 ZORAH ON THE TERRACE

Oil on canvas. 115.8 X 100.5 cm. bv. No 3396

The picture constitutes the central part of The Moroccan Triptych and was painted during Matisse's second sojourn in Tangier in the autumn of 1912. The Moroccan woman Zorah, who had frequently posed for the artist, served as a model for this picture. Provenance: until 1913 The artist's collection, Paris; 1913—18 The I. Morozov Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow; from 1956 to 1962 was on a permanent display in The Hermitage, Leningrad

Exhibition where Zorah on the Terrace was shown: 1939 Circulating Exhibition, Cat. 81 Exhibitions of the whole triptych, see note to plate 234 Bibliography: Кат. ГМИИ 1961, p. 121; Ternovetz 1925, p. 484; Кат. ГМНЗИ 1928, No 354; Reau 1929, No 966; Ромм 1935, pp. 45, 63; Cahiers d'Art 1950, p. 343; Barr 1951, pp. 145, 147, 154, 159, 203, ill. 387; Diehl 1954, pp. 62, 117, ill. 61; Матисс 1958, p. 106, 107; Алпатов 1969, p. 48; Кат. выст. Матисса 1969, p. 69, No 44, ill. p. 54; Antonova 1977, No 137

235 ZORAH ON THE TERRACE

236 ENTRANCE TO THE CASBAH

Oil on canvas. 115 X 80 cm. Inv. No 4058

This is the right-hand part of The Moroccan Triptych. It was painted in Tangier in the autumn of 1912. Provenance: until 1913 The artist's collection, Paris; 1913—18 The I. Morozov Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; 1948—68 The Hermitage, Leningrad; since 1968 The Pushkin Museum of Fine Arts, Moscow

Exhibitions of the whole triptych, see note to plate 234 Bibliography: Ternovetz 1925, p. 484; Кат. ГМНЗИ 1928, No 355; Reau 1929, No 967; Ромм 1935, P. 45; Cahiers d'Art 1950, p. 343; Barr 1951, pp. 145, 154, 156, 159, ill. 386; Diehl 1954, pp. 69, 117 (139), ill. 62; Кат. выст. Матисса 1969, p. 69, No 45, ill. p. 55

236 ENTRANCE TO THE CASBAH

237 THE LARGE STUDIO. 1911

Oil on canvas. 179.5 X 221.3 cm. Inv. No 3295 Signed and dated lower right: Henri-Matisse 1911 In the period between 1911 and 1913 Matisse often painted large interior scenes, especially of his studio, introducing into them many of his own paintings and sculptures. The canvas in The Pushkin Museum depicts the right-hand part of the artist's studio at Issy-les-Moulineaux; the left-hand section is represented in his well-known canvas The Red Studio (1911, the Museum of Modern Art, New York). Provenance: until 1912 The artist's collection, Paris; 1912—18 The S. Shchukin Collection, Moscow; 1918— 48 The Museum of Modern Western Art, Moscow;

since 1948 The Pushkin Museum of Fine Arts, Moscow Exhibitions: 1912 Paris (Salon d'Automne), Cat. 770; 1958;Brussels, Cat. 212; 1969 Moscow, Leningrad, Cat. 37; 1970 Paris, Cat. 106

Bibliography: Кат. ГМИИ 1961, p. 121; Кат. собр. С. Щукина 1913, No 94, pp. 22—23; Тугендхольд 1914, p. 41; Перцов 1921, No 94, p. Ill; Ternovetz 1925, p. 484; Кат. ГМНЗИ 1928, No 327; Reau 1929,

No 941; Ромм 1935, p. 28; Cahiers d'Art 1950, p. 343;

Barr 1951, pp. 100, 142—144, 148, 151—153, 539 (152), ill. 375; Diehl 1954, p. 68, 138; Musee de Moscou 1963, p. 204, ill.; Алпатов 1969, p. 58; Кат. выст. Матисса 1969, p. 68, No 37, ill. p. 49

237 THE LARGE STUDIO. 1911

238 FRUIT AND BRONZES. 1910

Oil on canvas. 89.5 X 116.5 cm. Inv. No 3394 Signed and dated lower center: Henri Matisse 1910 The picture was bought by Ivan Morozov from Matisse in 1910 in Paris for 5,000 francs. Reproduced in the still life is Matisse's sculpture Two Negro Women (1908). Valentin Serov used this still life as a background for his portrait of Ivan Morozov painted in 1910 (The Tretyakov Gallery, Moscow). Provenance: 1910 The artist's collection, Paris; 1910— 18 The I. Morozov Collection, Moscow; 1918—48 The

Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow Exhibitions: 1910 Paris, Cat. 58; 1955 Moscow, Cat., p. 45; 1956 Leningrad, Cat., p. 38; 1969 Moscow, Leningrad, Cat. 30

Bibliography: Кат. ГМИИ 1957, p. 89; Кат. ГМИИ 1961, p. 121; Маковский 1912, p. 22; Кат. ГМНЗИ 1928, No 352; Reau 1929, No 964; Cahiers d'Art 1950, p. 343; Barr 1951, pp. 127, 128, 138 (5); Diehl 1954, ill. 50; Sterling 1957, ill. 139, p. 182; Матисс 1958, p. 102; Прокофьев 1962, ill. 182; Кат. выст. Матисса 1969, pp. 66—67, No 30, ill. p. 44; Antonova 1977, No 138

238 FRUIT AND BRONZES. 1910

239 STILL LIFE WITH GOLDFISH

Oil on canvas. 146 X 97 cm. Inv. No 3299

Matisse painted over ten variations on this theme, of which the Moscow picture, completed in 1911 at Issy-les-Moulineaux, is considered the best. Provenance: until 1912 The artist's collection, Paris; 1912—18 The S. Shchukin Collection, Moscow; 1918— 48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow Exhibitions: 1955 Moscow, Cat., p. 45; 1956 Leningrad, Cat., p. 39; 1958 Brussels, Cat. 211; 1966—67 Tokyo, Kyoto, Cat. 72; 1969 Moscow, Leningrad, Cat. 36; 1970 Paris, Cat. 107

Bibliography: Кат. ГМИИ 1957, p. 89; Кат. ГМИИ 1961, p. 121; Кат. собр. С. Щукина 1913, No 115, pp. 26—27; Перцов 1921, No 115, p. Ill; Ettinger 1926, part 2, p. 119, ill.; Кат. ГМНЗИ 1928, No 330; Reau 1929, No 944; Ромм 1935, p. 32, ill.; R. Escho-lier, Henri Matisse, Paris, 1937, ill. No 11; Cahiers d'Art 1950, p. 343; Barr 1951, pp. 144, 154, 164, 537, 553, ill. 376; Diehl 1954, pp. 68, 139 (59), 154, 161, ill. 59; Sterling 1957, ill. 149; Матисс 1958, ill.; Прокофьев 1962, ill. 183; ГМИИ 1966, No 104; Алпатов 1969, p. 47; Кат. выст. Матисса 1969, p. 68, No 36, ill. p. 51

239 STILL LIFE WITH GOLDFISH

240 STILL LIFE WITH A SEASHELL. 1940

Oil on canvas. 54.8 X 82 cm. Inv. No 3769 Signed and dated lower right: Henri Matisse 11J40 The picture was presented to The Pushkin Museum by Lydia Delectorskaya in 1958. Several drawings are known to have been done for the picture. One of these, A Seashell (in pen), is in The Pushkin Museum. Matisse repeated the composition of this still life in the collage technique (the Pierre Matisse Collection, New York).

Provenance: until 1952 The artist's collection, Nice; 1952—58 The L. Delectorskaya Collection, Paris; since 1958 The Pushkin Museum of Fine Arts, Moscow Exhibitions: 1951 Tokyo; 1953—55 Copenhagen; 1969 Moscow, Leningrad, Cat. 51

Bibliography: Кат. ГМИИ 1961, p. 122; Cahiers d'Art 1940—44, p. 130, ill.; Diehl 1954, P. 91, ill. 121, p. 146

(121); Алпатов 1969, p. 63; Кат. выст. Матисса 1969, p. 71, No 51, ill. p. 60; J. Cowart, J. D. Flam, D. Four-cade, J. H. Neff, Henri Matisse. Paper Cut-Outs, The St Louis Art Museum and Detroit Institute of Arts, 1977, p. 41, ill. 23, p. 98, No 11

240 STILL LIFE WITH A SEASHELL. 1940