Henri Matisse
Still Life with Peaches
1894
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Henri Matisse
Still Life with Peaches
1894
Physical Qualities
Oil on canvas, 17 15/16 x 13 1/4 in. (45.6 x 33.7 cm.)
Credit Line
The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland
Object Number
1950.222
Painted just as the twenty-six-year-old Matisse started his formal training in Paris, this work reveals his early interest in the still-life paintings of Jean-Siméon Chardin, an eighteenth-century artist who was well known for his spare compositions that celebrate the beauty of their commonplace subjects. Matisse, like many other young artists of this period, often copied works in the Louvre and found inspiration for his own efforts. The influence of Chardin can be seen in the tightly constructed composition and in the attention that is given to the paint itself. This is especially apparent in the rendering of different kinds of textures, ranging from the velvety softness of the peaches to the different ways the objects reflect light.
The Baltimore Museum of Art by bequest, 1949; Etta Cone, Baltimore, by bequest, 1929; Claribel Cone, Baltimore, by purchase, 1927; Galerie Bernheim-Jeune, Paris
Matisse, Life in Color: Masterworks From The Baltimore Museum of Art
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The Baltimore Museum of Art, "Cone Collection of Modern Paintings and Sculpture," Baltimore: The Baltimore Museum of Art, 1930, p.6, no. 40. Exhibited as "Still Life [Chardin period]")
Alfred H. Barr, Jr., "Henri Matisse Retrospective Exhibition," New York: The Museum of Modern Art, 1931, pp. 10, 45, no. 2. (Published as "Still Life with a Tumbler")
"Baltimore Sees 52 Works by Henri Matisse," "Art Digest," September 1, 1934, vol. VIII, no. 20, p. 20.
Etta Cone, "The Cone Collection of Baltimore-Maryland," Baltimore: Etta Cone, 1934, p. 24, pl. 27, ill. (Published as "Nature Morte aux Pêches")
Baltimore Museum of Art, "A Century of Baltimore Collecting 1840-1940," Baltimore: The Baltimore Museum of Art, 1941, p. 84.
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. 14.
"$3,000,000 Art Collection," "Look," April 25, 1950, vol. 14, no. 9, p. 110, ill.
Doris Brian, "The Baltimore Museum's Cone Collection: A Pointed Star," "The Art Digest," January 15, 1950, vol. 24, no. 8, p. 21.
Gertrude Rosenthal, "Cone Memorial Exhibition," "News of The Baltimore Museum of Art," January-February, 1950, vol. XIII, nos. 4, 5, p. 15.
Alfred H. Barr, Jr., "Matisse: His Art and His Public," New York: The Museum of Modern Art, 1951, pp. 34, 222, 294, 557, 575, 589, ill.
Clive Bell, "Modern French Painting: The Cone Collection," Baltimore: The Johns Hopkins Press, 1951, p. 3.
Gertrude Rosenthal, "From Ingres to Gauguin: French Nineteenth Century Paintings Owned in Maryland," Baltimore: The Baltimore Museum of Art, 1951, p. 13, 46, no. 169.
Gaston Diehl, "Henri Matisse," Paris: Éditions Pierre Tisné, 1954, p. 12. (Published as "La Nature Morte aux Pêches")
Paul L. Grigaut, "The Two Sides of the Medal: French Painting from Gérôme to Gauguin," Detroit: The Detroit Institute of Arts, 1954, pp. 60, 71, no. 138.
"Matisse: A Rare Collection Record," "Vogue" March 1, 1955, vol. 125, pp. 132, 134, ill.
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. 31, no. 37.
Howard Devree, "About Art and Artists: Works by Matisse, Picasso and Others From Cone Collection Displayed," "The New York Times," January 25, 1955, p. 23.
"The Cone Wing," "News of the Baltimore Museum of Art," March 1957, p. 6, ill.
"Object of the Week," "The Baltimore Sun," January 17, 1960, p. MA17, ill.
George Boas, Adelyn Breeskin, and Gertrude Rosenthal, "Paintings, Sculpture, and Drawings in the Cone Collection," Baltimore: The Baltimore Museum of Art, 1967, p. 66, no. 34.
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. 11.
Brenda Richardson, "Dr. Claribel & Miss Etta: The Cone Collection of The Baltimore Museum of Art," Baltimore: The Baltimore Museum of Art, 1985, pp. 179, 197.
Jack Flam, "Matisse The Man and His Art 1869-1918," Ithaca: Cornell University Press, 1986, pp. 38, 522, fig. 17, ill.
Jacqueline and Maurice Guillaud, "Matisse: Le Rythme et la Ligne," Paris: Guillaud Editions, 1987, pp. 17, 645, no. 6, ill. (Published as "Nature Morte aux Pêches")
Guy-Patrice and Michel Dauberville, "Henri Matisse Chez Bernheim-Jeune, vols. 1-2" Paris: Éditions Bernheim-Jeune, 1995, pp. 280-281, 1431, no. 5, ill. (Published as "Nature Morte")
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. 47, 158, no. 2, ill.
Jack Flam, "Matisse in the Cone Collection: The Poetics of Vision," Baltimore: The Baltimore Museum of Art, 2001, pp. 22-23, 26, pl. 2, ill.
Bois, Yve-Alain, ed. Matisse in the Barnes Foundation, vol. 2. Philadelphia: Barnes Foundation, 2015, p. 235, fig. 4.
Inscribed: Recto: Lower left in paint, "H Matisse" Verso: The painting has been wax lined and there are no visible inscriptions on the verso.
On View at the BMA
