Henri Matisse
Seated Nude with Arms on Head
1903
Scroll
Henri Matisse
Seated Nude with Arms on Head
1903
Physical Qualities
Bronze, 13 3/4 x 6 3/8 x 7 1/8 in. (34.9 x 16.2 x 18.1 cm.)
Credit Line
The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland
Object Number
1950.431
“I took up sculpture because what interested me in painting was a clarification of my ideas. I changed my method, and worked in clay in order to have a rest from painting, in which I had done absolutely all that I could for the time being. That is to say that it was done for the purpose of organization, to put order into my feelings and to find a style to suit me. When I found it in sculpture, it helped me in my painting. It was always in view of a complete possession of mind, a sort of hierarchy of all my sensations that I kept working in the hope of finding an ultimate conclusion.” –Matisse, 1941
Installed with 1950.434 and 1950.435
The Baltimore Museum of Art by bequest, 1949; Etta Cone, Baltimore, by purchase from the artist, 1930
Matisse: Painter as Sculptor
Cone Refresh
Matisse as Printmaker
Collecting Matisse and Modern Masters: The Cone Sisters of Baltimore
Max Weber: Bringing Paris to New York
Matisse, Life in Color: Masterworks From The Baltimore Museum of Art
Matisse and Picasso
A Modern Influence: Henri Matisse, Etta Cone, and Baltimore
A Century of Baltimore Collecting 1840-1940
Etta Cone, "The Cone Collection of Baltimore, Maryland" (Baltimore: 1934) plate. # 120c.
'Cone Bequest,' "BMA News," Oct. 1949, no. 118.
"Handbook of the Cone Collection," (Baltimore: BMA, 1955) 45, no. 151.
Alfred H. Barr, Jr., "Matisse: His Art and His Public," (New York: Museum of Modern Art, 1951) 138, 557.
Escholier, Raymond. Matisse: A Portrait of the Artist and the Man. New York: Frederick A. Praeger, Publishers, [1960], no. 45.
"Handbook of the Cone Collection, Revised Edition," (Baltimore: BMA, 1967) no. 140.
Albert Elsen, 'The Sculpture of Matisse,' "Art Forum," vol. VII, #2, Oct. 1968.
Albert Elsen, "The Sculpture of Matisse," (New York: Harry N. Abrams, 1972) 58-60 (called: "Seated Woman," ill. p. 60).
Isabelle Monod-Fontaine, "The Sculpture of Henri Matisse," (London: The Arts Council of Great Britain, 1984) cat. # 11.
Senzoku, Nobuyuki, ed. Matisse and Modern Masters from the Cone Collection of the Baltimore Museum of Art = Kon korekushon ten. [Tokyo]: "Kon Korekushon" Ten Katarogu Iinkai, 1996, page 113, no. 59.
Lieberman, William S. Matisse: 50 Years of His Graphic Art. New York: G. Braziller, [1956], page 117.
Kosinski, Dorothy, Jay McKean Fisher, and Steven Nash. Matisse: Painter as Sculptor. Baltimore, MD: Baltimore Museum of Art; Dallas, TX: Dallas Museum of Art: Nasher Sculpture Center; New Haven: Yale University Press, 2007, pages 148-149, 269, cat. no. 35.
Karen Levitov, "Collecting Matisse and Modern Masters: The Cone Sisters of Baltimore," New York: The Jewish Museum, 2011, pp. 60, 76, pl. 38, ill.
Cozzi, Leslie and Katherine Rothkopf (eds). "A Modern Influence: Henri Matisse, Etta Cone, and Baltimore." Baltimore: The Baltimore Museum of Art, 2021. ill.
Claude Duthuit and Wanda de Guébriant, "Henri Matisse: Catalgoue raisonné de l'oeuvre sculpté," Paris, Claude Duthuit (publisher), 1997, p. 36, cat. #15 (edition 2).
Inscribed: "HM 2/10" back base.
Markings: "Cire - C. Valsuani - perdue" bottom back.
