plate no. 1202
View of Antibes
Henri Matisse, 1925
recreation guide
Henri Matisse’s *View of Antibes* (1925) represents a pivotal moment in his career, situated within the period following his relocation to the French Riviera in 1917. This era is characterized by a 'relaxation and softening' of his earlier Fauvist intensity, often described as a 'return to order' that aligns with post-World War I neoclassical trends (Source 3). While the painting retains the landscape genre’s focus on natural scenery and sky (Source 4), it reflects Matisse’s mature approach to color and form. The work likely exhibits the 'flattened forms and decorative pattern' that defined his rigorous style developed after 1906, yet tempered by the classical restraint of the 1920s (Source 7). The painting serves as an expression of feeling through painted symbols rather than a mere illusion of natural appearances, adhering to the principle that art is an expression of consciousness intimately associated with the material (Source 8).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints | Primary medium for the painting | — |
| Canvas or panel | Support surface | — |
| Oil of copavia or linseed oil | Medium for glazing and scumbling, as referenced in historical practice | Stand oil or walnut oil |
| Charcoal or graphite | Underdrawing for contour and form | — |
| Palette knife | For applying opaque layers and scumbling | — |
preparation
surface prep
Prepare a primed canvas or panel. While specific preparation for *View of Antibes* is not detailed in the sources, Matisse’s general practice involved rigorous preparation. The surface should be smooth to allow for the 'fluid and original draughtsmanship' characteristic of his work (Source 7). If employing a monochrome underpainting method (grisaille), ensure the ground is completely dry before proceeding to glazing (Source 2).
underdrawing
Use contour drawing techniques to establish the mass and volume of the landscape elements. Matisse was known for his mastery of drawing, and contour drawing emphasizes the outlined shape and form rather than minor details (Source 6). This approach allows for the 'flattened forms' associated with his style (Source 7). The underdrawing should capture the essential lines of the Antibes coastline and structures, focusing on the relationship between form and space (Source 6).
underpainting
Consider a grisaille (monochrome) underpainting to establish values. This technique involves extracting red and yellow colors to translate what would be left in nature without them (Source 2). This step helps in harmonizing the colors of the composition, which is essential for Matisse’s color theory application (Source 1). Ensure the grisaille is quite dry before applying color layers (Source 2).
color palette
Blue
Ultramarine, Cobalt Blue
Sky and sea, consistent with landscape traditions and Matisse’s use of complementary colors
Green
Viridian, Sap Green
Vegetation and hills, reflecting the natural scenery of Antibes
Red/Orange
Cadmium Red, Yellow Ochre
Roofs and architectural details, providing contrast to the blue/green tones
White
Titanium White
Highlights and light modifications, as per the law of simultaneous contrast
composition
The composition likely arranges the landscape elements into a coherent whole, with the sky almost always included as a significant element (Source 4). Matisse’s 1920s work shows a 'relaxation and softening' of approach, suggesting a balanced, perhaps more classical arrangement compared to his earlier Fauvist works (Source 3). The painting should avoid the 'meretricious attempt to deceive the eye' in favor of expressing feeling through painted symbols (Source 8). The arrangement should reflect the 'flattened forms' characteristic of his style, emphasizing decorative pattern over realistic depth (Source 7).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the main contours of the landscape, focusing on the mass and volume of the hills, sea, and buildings. Use continuous lines to capture the silhouette and form.
Tip — Focus on the outlined shape rather than minor details; let the line convey form, weight, and space (Source 6).
Contour drawing
underpainting
step 02
Apply a grisaille underpainting using black, ultramarine, and white to establish values. This step mentally extracts red and yellow colors to focus on structure.
Tip — Ensure the underpainting is completely dry before proceeding to avoid muddying the subsequent color layers (Source 2).
Grisaille
first pass
step 03
Begin applying color using glazing and scumbling techniques. Glaze transparent coats of color over the dry grisaille, particularly for red and yellow tones.
Tip — Glazing allows for the modification of tone and color, helping to harmonize the composition (Source 1, Source 2).
Glazing
refining
step 04
Use scumbling (semi-opaque painting) to adjust colors and create effects like a 'grey bloom' over darker grounds. This technique allows the underlying painting to show through.
Tip — Be mindful of the law of simultaneous contrast; adjacent colors will affect each other’s appearance (Source 1).
Scumbling
finishing
step 05
Refine the decorative patterns and flattened forms. Ensure the painting expresses feeling rather than mere illusion, keeping in tune with the emotional idea of the scene.
Tip — Avoid overworking the paint; Matisse’s style emphasizes clarity and symbolic representation (Source 7, Source 8).
Decorative simplification
critical techniques
Simultaneous Contrast
Matisse utilized the law of simultaneous contrast to harmonize colors. When two colored objects are viewed together, they appear modified by the complementary color of the other. This principle guides the selection and placement of colors in the landscape (Source 1).
Glazing and Scumbling
These techniques allow for the layering of transparent and semi-opaque colors over a monochrome underpainting. This method was practiced by old masters and can be used to achieve the nuanced color effects in Matisse’s work (Source 2).
Contour Drawing
Used to establish the form and volume of the subject. Matisse’s fluid draughtsmanship is evident in his use of line to define shapes without excessive detail (Source 6, Source 7).
common pitfalls
- →Attempting to create a realistic illusion of nature rather than an expression of feeling through painted symbols (Source 8).
- →Ignoring the law of simultaneous contrast, leading to disharmonious color relationships (Source 1).
- →Applying color layers before the underpainting is completely dry, which can ruin the glazing effect (Source 2).
- →Over-detailing the landscape, contrary to Matisse’s emphasis on flattened forms and decorative pattern (Source 7).
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 color palette used in *View of Antibes* is not detailed in the sources; general Fauvist and 1920s Matisse palettes are inferred.
- ·Exact compositional layout of *View of Antibes* (e.g., specific placement of buildings, trees) is not described in the sources.
- ·Matisse’s specific underdrawing method for this particular painting is not documented; contour drawing is inferred from his general practice.
- ·The extent of glazing vs. scumbling in this specific work is not specified; both techniques are suggested based on general practice.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour↗
- 315-318 — applied to Color theory and simultaneous contrast application
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Glazing and scumbling techniques
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of material use and expression
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Henri Matisse — part 6↗
- 1917-1930s — applied to Stylistic context of the 1920s 'return to order'
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to Genre characteristics and composition
Wikipedia: Contour drawing↗
- Contour drawing — part 1 — applied to Underdrawing technique
Wikipedia bio — Henri Matisse — part 1↗
- Overview — applied to General style and draughtsmanship
Read more about the corpus on the sources page and how the guides are built on the methods page.
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