1906, Henri Matisse, Olive Trees at Collioure -- Metropolitan Museum of Art (New York)
From the museum label: Unlike Derain, Matisse returned to Collioure on several occasions, realizing some of his finest canvases in the years following the summer of 1905, including Olive Trees at Collioure. Energetic in brushwork and expansive in palette, the picture encapsulates Fauvism as we define it today. Matisse uses naturalistic and synthetic color, often in repetition. Purple, green, pink, and white appear throughout the image. Brushwork varies from thin daubs of color to thick passages. The picture was likely painted or started outdoors. Pinholes suggest that spacers were used to isolate the freshly painted canvas when it was bundled with others for easy transport at the end of a session. This empirical evidence contributes meaningfully to our understanding of process as Fauvism took hold in Collioure.
1906, Henri Matisse, Olive Trees at Collioure -- Metropolitan Museum of Art (New York)
From the museum label: Unlike Derain, Matisse returned to Collioure on several occasions, realizing some of his finest canvases in the years following the summer of 1905, including Olive Trees at Collioure. Energetic in brushwork and expansive in palette, the picture encapsulates Fauvism as we define it today. Matisse uses naturalistic and synthetic color, often in repetition. Purple, green, pink, and white appear throughout the image. Brushwork varies from thin daubs of color to thick passages. The picture was likely painted or started outdoors. Pinholes suggest that spacers were used to isolate the freshly painted canvas when it was bundled with others for easy transport at the end of a session. This empirical evidence contributes meaningfully to our understanding of process as Fauvism took hold in Collioure.