plate no. 5848
Nu Aux Poissons Rouges
Henri Matisse, 1922
recreation guide
Henri Matisse’s *Nu Aux Poissons Rouges* (1922) represents a pivotal moment in the artist’s career, marking a transition from the intense colorism of his early Fauvist period to a more relaxed, classical approach often described as a 'return to order' (Source 5). While the Fauvist movement (1904–1908) was characterized by wild, dissonant colors and flat shapes (Source 4), the 1920s work reflects a softening of this approach, gaining critical acclaim for upholding classical traditions while retaining Matisse’s signature mastery of expressive color and fluid draughtsmanship (Source 7). The painting belongs to the genre of interior scenes, likely featuring the orientalist odalisque motifs that were characteristic of his Nice period (Source 5).
estimated time
20-30 hours over 5-7 sessions
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (artist grade) | Primary medium for the painting | — |
| Linseed oil | Medium to thin paint and adjust drying time/translucency | Stand oil or refined linseed oil |
| Mineral spirits or turpentine | Solvent for thinning initial layers and cleaning brushes | Odorless mineral spirits (Gamsol) |
| Canvas | Support surface | Linen or cotton canvas, primed |
| Charcoal or thinned paint | Initial sketching of the subject | Vine charcoal or diluted oil paint |
| Palette knives and rags | Application and removal of paint layers | — |
preparation
surface prep
The canvas should be prepared with a traditional ground. While specific priming details for this exact work are not in the sources, Matisse’s practice involved rigorous preparation. The surface must be stable to support the 'fat over lean' layering technique essential for oil painting permanence (Source 2).
underdrawing
Begin by sketching the subject onto the canvas using charcoal or thinned paint, as is traditional in oil painting techniques (Source 2). Matisse is known for his 'fluid and original draughtsmanship' (Source 7), so the underdrawing should emphasize the contour and mass of the figure rather than minute details, consistent with the principles of contour drawing which focus on outline and volume (Source 8).
underpainting
Consider establishing a monochrome underpainting (grisaille). Source 1 describes a method where the artist mentally extracts red and yellow colors to create a neutral ground, which is then glazed. While Source 1 notes prejudice against this among modern painters, it highlights the old master technique of glazing over a dry grisaille. Matisse’s 1922 work shows a 'relaxation and softening' (Source 5), which may benefit from the depth provided by layered glazing rather than direct opaque application alone.
color palette
Red
Cadmium Red or Alizarin Crimson
General use in Matisse’s palette; specifically noted in the title 'Poissons Rouges' (Red Fish) and his history of using bright, expressive color (Source 4).
Yellow
Cadmium Yellow or Yellow Ochre
General use; Source 1 mentions extracting yellow tones for glazing.
Blue
Ultramarine or Cobalt Blue
General use; Source 1 mentions ultramarine in Reynolds’ method, and Matisse’s early work used intense colorism (Source 7).
White
Titanium or Zinc White
General use; essential for mixing tints and highlights.
Black
Ivory Black
General use; mentioned in Source 1 for establishing tone.
composition
The composition likely emphasizes flattened forms and decorative patterns, a style Matisse developed after 1906 (Source 7). The interior setting should organize visual elements such as line, shape, and color to create a harmonious whole, where the 'lightest tone will be lowered, and the darkest tone will be heightened' due to simultaneous contrast (Source 3). Matisse’s interiors from this period often feature a 'relaxation and softening' of approach (Source 5), suggesting a balanced, perhaps less rigid, arrangement than his earlier Fauvist works.
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the figure and interior elements using charcoal or thinned paint. Focus on the contour and mass of the nude figure, ensuring the lines convey volume and space.
Tip — Look at the subject and the canvas alternately to create a silhouette, relying on sensation rather than just perception (Source 8).
Contour drawing
underpainting
step 02
Apply a monochrome layer (grisaille) to establish values. Mentally extract the red and yellow hues to determine the underlying structure, as if these colors were not present in nature.
Tip — Ensure this layer is completely dry before proceeding to avoid muddying the subsequent glazes.
Grisaille
first pass
step 03
Begin applying color using the 'fat over lean' rule. Each additional layer must contain more oil than the layer below to prevent cracking.
Tip — Use linseed oil to mix the paint, ensuring proper drying and stability of the paint film.
Fat over lean
refining
step 04
Glaze and scumble the red and yellow tones over the dry underpainting. Glazing involves a transparent coat of color, while scumbling is semi-opaque, allowing the underlying painting to show through.
Tip — When scumbling over a darker ground, be aware it tends to coldness, which can create a grey bloom effect.
Glazing and Scumbling
step 05
Adjust colors based on simultaneous contrast. Remember that adjacent colors affect each other; the eye may see a tint resulting from the peculiar color and the complementary of the neighboring object.
Tip — Be cautious of mixed contrast; if you stare at one color, your eye may temporarily see its complementary, leading to inaccurate color mixing.
Simultaneous Contrast
finishing
step 06
Refine the fluid draughtsmanship and expressive color. Matisse’s 1922 style shows a 'relaxation and softening,' so avoid the harsh dissonance of early Fauvism in favor of a more classical harmony.
Tip — Use palette knives or rags to scrape off or adjust layers if necessary, as oil paint remains wet long enough for changes.
Classical Harmony
critical techniques
Glazing and Scumbling
Used to build up color depth and transparency. Glazing applies a transparent coat, while scumbling applies semi-opaque paint over a dry underlayer. This method was practiced by old masters and can create specific tonal effects like grey blooms.
Simultaneous Contrast
Understanding that colors influence each other when placed side-by-side. The painter must account for how the eye perceives modifications in tone and color due to contiguous hues.
Fat over Lean
A basic rule of oil painting where each successive layer contains more oil than the previous one to ensure proper drying and prevent cracking.
common pitfalls
- →Applying lean layers over fat layers, which will cause the final painting to crack and peel (Source 2).
- →Ignoring simultaneous contrast, leading to inaccurate color perception and muddy mixes (Source 3).
- →Overworking the paint before it is dry, especially when attempting glazing techniques which require a dry underlayer (Source 1).
- →Reverting to the harsh, dissonant colors of early Fauvism instead of adopting the 'relaxation and softening' characteristic of Matisse’s 1922 period (Source 5).
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific visual details of the interior (e.g., exact furniture, wall decorations, or the specific pose of the nude) are not described in the provided sources.
- ·The exact pigment palette used by Matisse for this specific 1922 work is not detailed; general Fauvist and classical oil painting pigments are inferred.
- ·The specific dimensions of the canvas are not provided.
- ·Matisse’s specific preparatory sketches for this painting are not included in the sources.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting (grisaille), glazing, and scumbling techniques.
Laws of Contrast of Colour↗
- 315-318 — applied to Color theory and simultaneous contrast adjustments.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Materials, fat over lean rule, and application methods.
Wikipedia bio — Henri Matisse↗
- part 3 and part 5 — applied to Stylistic context (Fauvism vs. Return to Order) and period characteristics.
- part 1 — applied to General artistic reputation and draughtsmanship.
Wikipedia: Contour drawing↗
- Contour drawing — part 1 — applied to Underdrawing technique focusing on mass and volume.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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