Drawing with scissors: Henri Matisse's cut-out gouache technique
At nearly 80 years old, Matisse reinvented himself: he no longer painted, but cut directly into color. With his scissors, he invented a free, direct gesture that gave birth to figures of rare power. A new creative impetus driven by the cut-out gouache technique, whose history and artworks can be discovered at the Grand Palais until July 26 !
Cut-out gouache becomes painting
In his final years, Matisse allowed himself complete freedom through cut-out gouache. This new medium enabled him to "draw with scissors" and thus cut directly into color, without having to dissociate these two key elements of his expression. Color and form are no longer separate, they become one and the same material to compose.
This new freedom opens up an immense field of possibilities, giving rise to artworks of striking visual power. Gradually, cut-out gouache is no longer limited to vegetal compositions. Matisse uses it to represent monumental figures, such as Zulma and Danseuse créole, which can be seen in the exhibition.
Did you know?
Matisse composed most of his cut-out gouaches on the walls of his apartment. Weakened by illness and old age, he was accompanied by studio assistants. Paule Caen-Martin, Denise Arokas, Annelies Nelck, Jacqueline Duhême: meveral women helped Matisse under the supervision of Lydia Delectorskaya, the artist’s devoted assistant since 1932. They were the ones who covered the large sheets of paper with gouache, later cut out by the artist, or who rearranged, according to his instructions, the cut-out shapes pinned to the wall.
Henri Matisse, Zulma, début 1950
In the secrecy of the studio
In the studio, everything can happen very quickly. Some artworks take shape in a single day, others in just a few days. Matisse's gesture is precise, but also very free: he adjusts, moves, and layers elements until he finds the right balance. Paule Caen-Martin's account in Matisse, la couleur découpée: une donation révélatrice (2013) sheds light on thecreative process:
"Some works were thrown onto the wall all in a single burst, others took shape slowly. Thus Zulma, now in the Copenhagen museum, was begun one afternoon when Lydia was in Paris, busy with a hanging or some other task. Matisse and I were in the winter room, it was 1950. The master was jovial, relaxed in his wheelchair. He began by cutting out the central blue figure, whose breasts formed an integral part of the shape; then green and yellow leaves had to be slipped behind this form. The large orange flame that runs through it from bottom to top came later, as did the brushstrokes and Indian ink defined the pubis and legs. We stopped there on the first day. Matisse must have studied his work overnight, because as soon as I arrived the next day, he had me plant the table and the purple vase on it, followed by the brown and orange parquet floor. Lastly came the blue and burnt-sienna vase with its bouquet sketched in a single stroke of a grease pencil. We were done in two days. "
- Paule Caen-Martin, Matisse, la couleur découpée: une donation révélatrice, 2013
An exceptional exhibition
The medium of cut-out gouache, which is particularly fragile because it is photosensitive, is now rarely exhibited in museum galleries. This is the first time in France, since an exhibition at the arts décoratifs museum in Paris in 1961, that you can discover this essential aspect of Matisse’s artistic practice ! Come and enjoy it at the Grand Palais until July 26.
Matisse 1941-1954 : tous les outils indispensables pour une visite éclatante au Grand Palais
Vous venez découvrir l’exposition Matisse 1941-1954 ? Bonne nouvelle : tout est prévu pour profiter pleinement de la visite, que vous soyez en solo, entre amis, en famille ou avec des enfants. Parcours ludiques, outils accessibles… Suivez le guide pour explorer l’univers vibrant d'Henri Matisse en toute liberté !
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