Paraphrase d'Un Chant d'Enfant Dans Le Soir, 1945-46
From the early 1920s until 1939, Matisse divided his time between the South of France and Paris. While recuperating from two major operations in 1941 and 1942, he concentrated on a technique he had devised earlier, ‘papiers découpés’ (paper cutouts), which would prove hugely influential, and was one of the first painters to take an interest in “primitive” art. He died on November 3, 1954, in Nice.
In 1945, following the success of his series of lithographs under the titles Visages, inspired by Reverdy's poetry, Matisse began working with several exotic models, mostly Polynesian, to prepare illustrations for an ambitious suite of lithographs that he hoped to do in homage to his friend, the poet John-Antoine Nau.
Nau's poetry took its themes from voyages in the Antilles and in particular to Martinique where the facial sculpture of women from the Islands, with their exoticism and richness, was a great inspiration.
Matisse completed and proofed all the stones for the Poésies Antillaises series in 1945-46 which, in a letter to Mourlot, he called striking and superb. However for some reason the actual edition of the album was not pulled at that time. The work was finally published in 1972 by the Paris lithographer Fernand Mourlot, who scrupulously followed both Matisse's maquettes and his final corrected proofs.
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