Henri Matisse
Odalisque with Green Sash
1925
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Henri Matisse
Odalisque with Green Sash
1925
Physical Qualities
Oil on canvas, 20 × 25 7/8 in. (50.8 × 65.7 cm.)
Framed: 27 1/2 × 33 3/8 × 3 7/8 in. (69.9 × 84.8 × 9.8 cm.)
Credit Line
The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland
Object Number
1950.253
Matisse first saw examples of Islamic art at a 1910 exhibition, initiating a lifelong interest in the aesthetics of North African and Islamic cultures. Years later, he recalled the period of his career when he created many fantastical compositions that featured female figures wearing costumes linked to the Eastern Mediterranean world: “The Odalisques were the bounty of happy nostalgia, a lovely, vivid dream, and the almost ecstatic, enchanted days and nights of the Moroccan climate. I felt an irresistible need to express that ecstasy, that divine unconcern, in corresponding-colored rhythms, rhythms of sunny and lavish figures and colors.”
The Baltimore Museum of Art by bequest, 1949; Etta Cone, Baltimore, by purchase, 1937; Galerie Rosengart, Lucerne, 1937; the artist
"Forbism and Cubism"
Henri Matisse - Interiors with Women
Matisse: Painter as Sculptor
Matisse Between the Wars
Cone Refresh
Great Masters Series: Matisse's Odalisque
Matisse as Printmaker
Henri Matisse - Figuration and Decoration
Matisse, Life in Color: Masterworks From The Baltimore Museum of Art
Matisse in the Studio
A Modern Influence: Henri Matisse, Etta Cone, and Baltimore
Cone Wing Rotations 2022
Cone Wing Rotations 2023
Matisse and His Orient
Cone Wing Rotations 2024
Cone Wing Rotations 2025
G.J. Gros, "Henri Matisse," "Cahiers d'art,"1927, vol. 7-8, p. 268, ill.
Hans Purrmann, "Henri Matisse," Berlin: Galerie Thannhauser, 1930, pp. 20, 39, no. 68, ill. (Published as "Schlafendes Mädchen")
George Boas, Adelyn D. Breeskin, and J.G. D'Arcy Paul, "Selections from the Cone Collection," "News of The Baltimore Museum of Art," October 1949, vol. 13, no. 1, p. 18. (Published as "Redlining Odalisque with Green Sash")
"$3,000,000 Art Collection," "Look," April 25, 1950, vol. 14, no. 9, p. 104, ill. p. 104.
Alfred H. Barr, Jr., "Matisse: His Art and His Public," New York: The Museum of Modern Art, 1951, p. 557. (Published as "Reclining Odalisque with Green Sash")
George Boas, Adelyn Breeskin, and Gertrude Rosenthal, "Cone Collection: A Handbook with a Catalogue of Paintings and Sculpture," Baltimore: The Baltimore Museum of Art, 1955, p. 36, no. 68. (Published as "Reclining Odalisque with Green Sash")
George Boas, Adelyn Breeskin, and Gertrude Rosenthal, "Paintings, Sculpture, and Drawings in the Cone Collection," Baltimore: The Baltimore Museum of Art, 1967, p. 67, no. 65. (Published as "Reclining Odalisque with Green Sash")
Jean Guichard-Meili, "Henri Matisse, Son Oeuvre, Son Univers," Paris: Fernand Hazan Editeur, 1967, pp. 101, 250, fig. 93, ill. (Published as "Odalisque à l'écharpe verte")
Jean Guichard-Meili, "Matisse," New York: Frederick A. Praeger, 1967, pp. 101, 248, no. 93, ill. (Published as "Odalisque with a Green Scarf")
Massimo Carrà and Mario Luzi, "L'opera di Matisse dalla rivolta 'fauve' all'intimismo 1904-1928," Milan: Rizzoli 1971, pp. 104, 113, 114, no. 440, pl. LXIII ill. (Published as "Odalisca con Sciarpa Verde")
The Baltimore Museum of Art, "Cone Collection from The Baltimore Museum of Art: A Benefit Exhibition at Wildenstein," Baltimore: The Baltimore Museum of Art, 1974, no. 30. (Published as "Reclining Odalisque with Green Sash")
Pierre Schneider, Massimo Carrà and Xavier Derying, "Tout l'Oeivre Peint de Matisse 1904-1928," Paris: Flammarion, 1982, pp. 104, 115, no. 440, pl. LXIII, ill. (Published as "Odalisque à l'Écharpe Verte")
Brenda Richardson, "Dr. Claribel & Miss Etta: The Cone Collection of The Baltimore Museum of Art," Baltimore: The Baltimore Museum of Art, 1985, pp. 190, 198.
Jack Cowart and Dominique Fourcade, "Henri Matisse The Early Years in Nice 1916-1930," New York: Harry N. Abrams, Inc., 1987, pp. 214, 325, 334, no. 152, ill. (Published as "Odalisque à la ceinture verte/Reclining Odalisque with Green Sash")
Jacqueline and Maurice Guillaud, "Matisse: Le Rythme et la Ligne," Paris: Guillaud Editions, 1987, pp. 188, 199-200, 645, no. 200, ill. (Published as "Odalisque à l'écharpe verte")
Janet Hobhouse, "Odalisques What did they mean to Matisse?," "Connoisseur," January 1987, vol. 217, p. 67, ill..
"Von Matisse bis Picasso," "Wochenend Journal," June 18, 1988, no. 25, p. 1, ill. (Published as "Odalisque à la ceinture verte")
Martin Kunz, "Von Matisse bis Picasso: Hommage an Siegfried Rosengart," Luzern: Kunstmuseum Luzern un den Autoren, 1988, pp. 112, 198, no. 43, ill. (Published as "Odalisque à la ceinture verte")
Bernier, Rosamond. Matisse, Picasso, Miró: As I Knew Them. New York: Alfred A. Knopf, 1991, page 34.
Gilot, Françoise. The Blue Eyes. New York: Doubleday, 1990, page 166.
Françoise Gilot. Matisse and Picasso: A Friendship in Art. New York: Anchor Books, 1992, page 166
Dauberville, Guy-Patrice, and Michel Dauberville. Matisse: Henri Matisse Chez Bernheim-Jeune, vol. 2. Paris: Éditions Bernheim-Jeune, 1995, page 1281, no. 679 (published as "Odalisque couchée, bras levé sur la tête")
Nobuyuki Senzoku and Akira Tomita, "Matisse and Modern Masters from the Cone Collection of The Baltimore Museum of Art," Tokyo: Brain Trust Inc., 1996, pp. 81, 159, no. 32, ill.
Sona K. Johnston and William R. Johnston, "The Triumph of French Painting: Masterpieces from Ingres to Matisse," London: Scala Publishers, 2000, pp. 35, 150-151, 156, no. 56, ill.
Jack Flam, "Matisse in the Cone Collection: The Poetics of Vision," Baltimore: The Baltimore Museum of Art, 2001, pp. 68, 72, pl. 30, ill.
Dorothy Kosinski, Jay McKean Fisher and Steven Nash, "Matisse Painter as Sculptor," Baltimore and Dallas: The Baltimore Museum of Art, the Dallas Museum of Art and the Nasher Sculpture Center, 2007, pp. 231, 276, 292, no. 115, ill.
Tomàs Llorens, "Matisse 1917 1941," Madrid: Fundación Colección Thyssen-Bornemisza, 2009, pp. 128, 217, 231, no. 41, ill. (Published as "Odalisca con Cinturón Verde")
Brown, Kathryn. Henri Matisse. London: Reaktion Books, 2021, p. 137, ill.
Cozzi, Leslie and Katherine Rothkopf (eds). "A Modern Influence: Henri Matisse, Etta Cone, and Baltimore." Baltimore: The Baltimore Museum of Art, 2021. ill.
Inscribed: Recto: Lower right in paint, "Henri.Matisse" Verso: Top right canvas, "Odalisque a la culotte g_______/________ verte 1926/Photo n: 6556/inv 361" Top right canvas, wine colored circular stamp, "DOUANES/PARIS/CENTRALE" Top left canvas, black stamp, "DOUANES/PARIS/CENTRALE" Top right stretcher in graphite, "100" Top of right vertical stretcher, circular stamp, "DOUANES/_____ _______/CENTRALE" Middle of right vertical stretcher, black stamp, "15P" Bottom of right vertical stretcher, rectangular label, in blue ink, "Nature et/Odalisque ceinture" Center of top horizontal stretcher, square label, in dark print, "LUZERN/Haldenstr, 11 Telephon 186/ 'Odalisque à la cein-/ture verte 1926' MATIS" Middle of central stretcher in blue crayon, "VI" Middle of central stretcher, square label, "844" Bottom of central support, dark ink, "57" Bottom of central support in graphite, "odalisque coucher culotte grise" Left horizontal stretcher in black grease pencil, "45" Left horizontal stretcher, white label with a red border in black ink, "Matisse ____/with Green Sash