1921, Henri Matisse, Le Boudoir -- Musée de l'Orangerie (Paris)
From the museum label: Matisse often constructed his interior scenes using a pyramid composition, drawing the eye towards an opening onto the outside. In his search for what he called the "necessary limpidity" he was particularly fond of "the silvery brightness of the light in Nice, especially in the fine days of January" which he conveyed through a transparent use of colour similar to watercolour. The decor of the Hôtel de la Méditerranée, the window overlooking the Promenade des Anglais, and the seated figure of his daughter Marguerite, who came to visit him in 1921, allow us to date the painting accurately.
1921, Henri Matisse, Le Boudoir -- Musée de l'Orangerie (Paris)
From the museum label: Matisse often constructed his interior scenes using a pyramid composition, drawing the eye towards an opening onto the outside. In his search for what he called the "necessary limpidity" he was particularly fond of "the silvery brightness of the light in Nice, especially in the fine days of January" which he conveyed through a transparent use of colour similar to watercolour. The decor of the Hôtel de la Méditerranée, the window overlooking the Promenade des Anglais, and the seated figure of his daughter Marguerite, who came to visit him in 1921, allow us to date the painting accurately.