{"items":[{"id":"1170012458_object","created":"2020-03-21T10:43:48Z","modified":"2026-04-23T08:35:59Z","responsible_department":"Den Kongelige Maleri- og Skulptursamling","current_location_name":"Sal 213","current_location_date":"2025-12-02T00:00:00Z","acquisition_date":"1936-01-01T00:00:00Z","acquisition_date_precision":"1936-12-31","dimensions":[{"notes":"405 x 325 mm","part":"Netto","type":"højde","unit":"centimeter","value":"40.5"},{"notes":"405 x 325 mm","part":"Netto","type":"bredde","unit":"centimeter","value":"32.5"}],"documentation":[{"title":"Tilskueren: maanedsskrift=månedsskrift for litteratur, kunst, samfundsspørgsmaal=samfundsspørgsmål og almenfattelige videnskabelige skildringer","author":"Ubekendt","notes":"Nr. 39, årg. II, København 1922. 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Noble","notes":"afb. p. 551 (fig. 20.18), omt. p. 551","year_of_publication":"2014"},{"title":"Fauvisme","author":"Marina Lewisch","notes":"afb. p. 65.","year_of_publication":"2013"},{"author":"Heinz Widauer og Claudine Grammont","notes":"afb. p. 287 (Fig. 2), omt. p. 286ff","year_of_publication":"2013"},{"title":"Horizont Jawlensky: Alexej von Jawlensky im Spiegel seiner künstlerischen Begegnungen 1900-1914","author":"Hanne Dannenberger & Rebecca Krämer","notes":"afb. p. 234 (abb. 4), omt. p. 233ff","year_of_publication":"2014"},{"title":"Le Fauvisme","author":"Cécile Debray","notes":"afb. p. 223 (ill. 184), omt. p. 222","year_of_publication":"2014"},{"author":"Dita Amory et.al.","notes":"afb. p. 148 (Fig. 60), omt. p. 147-148","year_of_publication":"2014"},{"title":"Il y a","author":"Apollinaire, Guillaume","notes":"omt. p. 179-180"},{"author":"John Cauman","notes":"afb. p. 47","year_of_publication":"2019"},{"title":"Félix Fénéon. The Anarchist and the Avant-garde","author":"Starr Figura","notes":"Fig. 61, afb. p. 149","year_of_publication":"2020"}],"exhibitions":[{"exhibition":"Matisse","date_start":"1995-03-29T00:00:00.000Z","date_end":"1995-05-16T00:00:00.000Z","venue":"Queensland Art Gallery, Brisbane"},{"exhibition":"Matisse","date_start":"1995-05-26T00:00:00.000Z","date_end":"1995-07-08T00:00:00.000Z","venue":"National Gallery of Australia"},{"exhibition":"Matisse","date_start":"1995-07-18T00:00:00.000Z","date_end":"1995-09-02T00:00:00.000Z","venue":"National Gallery of Victoria, Melbourne"},{"exhibition":"100 Mesterværker","date_start":"1996-06-23T00:00:00.000Z","date_end":"1996-08-04T00:00:00.000Z","venue":"SMK København"},{"exhibition":"\"Matisse &\"","date_start":"2005-08-13T00:00:00.000Z","date_end":"2005-12-04T00:00:00.000Z","venue":"SMK København"},{"exhibition":"Henri Matisse. Fire store samlere","date_start":"1999-01-22T00:00:00.000Z","date_end":"1999-05-24T00:00:00.000Z"},{"exhibition":"Matisse - en retrospektiv udstilling","date_start":"1970-10-10T00:00:00.000Z","date_end":"1970-11-29T00:00:00.000Z"}],"inscriptions":[{"content":"Henri-Matisse","type":"Signatur"}],"labels":[{"text":"Den danske forbindelse Henri Matisse (1869-1954), Portræt af Madame Matisse. Den grønne stribe, (1905) Henri Matisse er en kunstner i verdensklasse, og hans værk Portræt af Madame Matisse. Den grønne stribe af hustruen Amélie Matisse er et hovedværk i det 20. århundredes portrætkunst og et af SMK’s 10 største highlights. SMK har en af verdens største og mest betydningsfulde samlinger af den franske kunstner Henri Matisse uden for Frankrig. Omkring 1. Verdenskrig er der to store samlere af Matisse i København, og de malerier, der kommer til København i disse år, danner i dag grundlaget for SMK’s store samling af kunstneren. Portræt af Madame Matisse. Den grønne stribe er et hovedværk, fordi det viser, hvordan et billede med ganske enkle virkemidler kan få meget stor udtrykskraft. Især de stærke farvekontraster, som er kendetegnende for Matisses billeder i starten af det 20. århundrede, er med til at give det lille maleri (40,5 x 32,5 cm) sin store visuelle styrke. “Billedet er antageligt malet i efteråret 1905, hvor Matisse er tilbage i Paris efter at have tilbragt sommeren i den sydfranske fiskerby Collioure. Her kaster han sig sammen med vennen André Derain ud i stadig vildere maleriske eksperimenter, der skal frigøre farven fra dens beskrivende funktion, så den i stedet kan virke som en uafhængig kraft,” fortæller overinspektør og seniorforsker, Dorthe Aagesen. Det moderne Selv om der er genkendelige træk i Portræt af Madame Matisse. Den grønne stribe, er det ikke en naturalistisk gengivelse af hustruen. Matisse forsøger ikke at male det, han ser, så præcist som muligt og er ikke optaget af at vise særlige sider af sin model eller lave et psykologisk portræt. Billedet handler heller ikke om hans og hans kones indbyrdes forhold, men er et forsøg på at formidle en indre oplevelse. Den grønne stribe, der deler ansigtet op i to halvdele, en kold og en varm, er med til at give en fladevirkning, der gør portrættet maskeagtigt og abstrakt. “Hvert eneste penselstrøg er bevidst placeret og maleriet er et godt eksempel på, hvordan man kan eksperimentere rent billedligt med et portræt. Det illustrerer, hvordan man kan manipulere og styre betydninger, hvordan man iscenesætter, og også hvad man ikke fortæller. Det kan give perspektiv til vores brug af billeder i dag,” siger Dorthe Aagesen. Stein og de danske samlere Men ud over at være et hovedværk inden for portrætkunst, har maleriet også en helt særlig historie, da det kom i dansk eje lige efter 1. Verdenskrig. På det tidspunkt blev Portræt af Madame Matisse. Den grønne stribe købt af forretningsmanden Christian Tetzen-Lund. Hans samling blev opløst i løbet af 1920’erne, men netop dette portræt beholdt han til sin død i 1936, og SMK købte det på dødsboets auktion. Den anden danske samler af Matisse i perioden er Johannes Rump, der købte flere værker fra Christian Tetzen-Lunds samling, og den overvejende del af museets franske samling er en donation fra Rump. Før maleriet kom til Danmark, var det en del af den berømte Stein-samling i Paris. Den amerikanske kunstsamler Michael Stein og hans kone Sarah og Michaels søskende Gertrude og Leo Stein opbygger fra 1905 og frem mod 1. Verdenskrig nogle vigtige samlinger af malerier fra Paris, som de udstiller i deres private hjem. “På fotos af Michael og Sarah Steins lejlighed, kan man se, at maleriet hænger ret prominent i deres stuer. Det har været kendt i sin samtid og er et af de billeder, der har været med til at skabe Henri Matisses ry,” fortæller Dorthe Aagesen. Andre museer Henri Matisse kan ses på Centre Pompidou, Paris, MoMA, New York, Baltimore Museum of Art, San Francisco Museum of Modern Art, Pushkinmuseet, Moskva, Eremitage-museet i Skt. Petersborg og på de to Matisse-museer i hhv. Nice og Le Cateau-Cambresis.","type":"OTHERTEXT","source":"Annette Rosenvold Hvidt","date":"2018-11-09T00:00:00.000Z"},{"text":"Et af Matisses kendteste billeder og et hovedværk i 1900-tallets portrætkunst er hans skildring af hustruen Amélie Matisse. Billedet henter en stor del af sin styrke fra den enkle geometriske struktur og den måde, farverne er kombineret på. Den rumlige modulering er reduceret til et minimum. Effekter af lys og skygge, der ville give billedet dybde, er i stedet omsat til flader af farve. Billedet er antageligt malet i efteråret 1905, hvor Matisse var tilbage i Paris efter at have tilbragt sommeren i fiskerbyen Collioure. Her havde han sammen med André Derain kastet sig ud i stadig vildere maleriske eksperimenter, der skulle frigøre farven fra dens beskrivende funktion, så den i stedet kunne virke som en uafhængig kraft. Med sin uortodokse farvebrug bygger PORTRÆT AF MADAME MATISSE på sommerens eksperimenter.","type":"EXHIBITIONTEXT","source":"Dorthe Aagesen"},{"text":"Så madame Matisse virkelig sådan ud? Med en grøn stribe ned over ansigtet? Både ja og nej! Det, der skete i og med modernismen, var, at man begyndte at afvise det billedsprog, dvs. den ordning af det synlige, som havde været en fælles kommunikations kode siden renæssancen. Det ideal om illusionisme, om stærk realitetseffekt, der havde været fremtrædende, blev udfordret. Billeder skulle ikke længere forekomme naturlige, dvs. give genkendelig mening ved at gentage den \"syntaks\" og det \"ordforråd\", som gjorde det muligt hurtigt at dechifrere dem. Vi skal dog stadig kunne genkende madame Matisse. Men det sker nu vha. andre koder end realismens fantasmer. På en måde arbejder Matisse lidt ligesom Cranach i portrættet af Luther (nr. 3). Han koger fænomenet (modellen) ind til dets grundlæggende struktur og skaber dermed et ikon - med en grøn stribe, som vi efterhånden accepterer som meningsfuld.","type":"CATALOGUETEXT","source":"Hanne Kolind Poulsen","date":"2019-11-07T00:00:00.000Z"},{"text":"En stribe med provokerende grøn farve skærer lige ned gennem madame Matisses bekymrede ansigt og deler det i to farvede halvdele. Som farvekomposition betragtet er maleriet både frækt og vellykket. Der er trods alt balance i helheden, og vi kan skifte ubesværet mellem at betragte personen og bare at nyde det vellykkede, ornamentale farvefyrværkeri, som hele kompositionen udgør. En feministisk orienteret betragter vil beskrive Matisses brug af farve som skabt til at glæde det omnipotente, flydende øje, der magtfuldt betragter og vurderer alt på afstand. Matisse tilsidesætter gerne individet for at gøre det til et ornament eller en dekoration. Både værkets titel og det radikale farvebrug understreger på forbilledlig vis forskydningen af en interesse for individet over mod en interesse for det æstetiske.","type":"CATALOGUETEXT","source":"Henrik Holm & Louise Wolthers"}],"materials":["Lærred"],"object_names":[{"name":"Maleri"}],"production":[{"creator":"Matisse, Henri","creator_forename":"Henri","creator_surname":"Matisse","creator_date_of_birth":"1869-01-01T00:00:00.000Z","creator_date_of_death":"1954-01-01T00:00:00.000Z","creator_nationality":"Fransk","creator_gender":"MALE","creator_lref":"897_person"}],"production_date":[{"start":"1905-01-01T00:00:00.000Z","end":"1905-12-31T00:00:00.000Z","period":"1905"}],"techniques":["Olie på lærred"],"titles":[{"title":"Portræt af Madame Matisse. Den grønne stribe","type":"kunstnertitel","language":"dansk"},{"title":"Portrait de Madame Matisse. La raie verte","type":"kunstnertitel","language":"fransk"}],"number_of_parts":1,"object_history_note":["March-april 1906 købt af Sarah og Michael Stein i Galerie Drouet, Paris; august 1914 tilbageholdt i Berlin; 1914-17 (?) opbevaret hos Greta og Oskar Moll, Berlin; 1917/18 salgsforhandlinger mellem Stein og Christian Tetzen-Lund og Tryggve Sagen; 1917 beslaglagt af Fritz Gurlitt (?) og sat på fingeret auktion og købt af galleriejeren selv; 1919 krævet tilbage af Hans Purrmann på ægteparret Steins vegne og returneret til Paris, hvorefter handelen med Tetzen-Lund og Sagen blev endelig stadfæstet; 1920 bragt til København; Tetzen-Lunds auktion 19. maj 1925, kat.nr. 89 (ikke solgt); Tetzen-Lunds auktion, V. Winkel & Magnussens Kunstauktioner nr. 159, 28. maj 1934, kat.nr. 10 (ikke solgt); Tetzen-Lunds auktion, V. Winkel & Magnussens Kunstauktioner nr. 200, 10. juni, 1936, kat.nr. 6; her købt af Ingeniør J. Rump og hustru Elisabeth Rumps Fond og skænket til Statens Museum for Kunst."],"object_number":"KMSr171","object_url":"https://api.smk.dk/api/v1/art?object_number=KMSr171","frontend_url":"https://open.smk.dk/artwork/image/KMSr171","iiif_manifest":"https://api.smk.dk/api/v1/iiif/manifest?id=KMSr171","enrichment_url":"https://enrichment.api.smk.dk/api/enrichment/KMSr171","similar_images_url":"https://similar.api.smk.dk/similar/?object_number=KMSr171","production_dates_notes":["Værkdatering: (1905)","afsluttet: dokumenteret"],"public_domain":true,"rights":"https://creativecommons.org/publicdomain/mark/1.0/","on_display":true,"alternative_images":[{"mime_type":"image/tiff","iiif_id":"https://iip.smk.dk/iiif/jp2/zg64tm815_KMSr171.TIF.jp2","iiif_info":"https://iip.smk.dk/iiif/jp2/zg64tm815_KMSr171.TIF.jp2/info.json","width":2846,"height":3072,"size":9057432.413793104,"thumbnail":"https://iip-thumb.smk.dk/iiif/jp2/zg64tm815_KMSr171.TIF.jp2/full/!1024,/0/default.jpg","native":"https://iip.smk.dk/iiif/jp2/zg64tm815_KMSr171.TIF.jp2/full/full/0/native.jpg","orientation":"portrait"}],"image_mime_type":"image/tiff","image_iiif_id":"https://iip.smk.dk/iiif/jp2/kd17cx80w_KMSr171-crop.tif.jp2","image_iiif_info":"https://iip.smk.dk/iiif/jp2/kd17cx80w_KMSr171-crop.tif.jp2/info.json","image_width":2813,"image_height":3506,"image_size":10211598,"image_thumbnail":"https://iip-thumb.smk.dk/iiif/jp2/kd17cx80w_KMSr171-crop.tif.jp2/full/!1024,/0/default.jpg","image_native":"https://api.smk.dk/api/v1/download/W3siaW1nX3VybCI6Imh0dHBzOi8vaWlwLnNtay5kay9paWlmL2pwMi9rZDE3Y3g4MHdfS01TcjE3MS1jcm9wLnRpZi5qcDIvZnVsbC9mdWxsLzAvbmF0aXZlLmpwZyIsInB1YmxpY19kb21haW4iOnRydWUsIm9iamVjdF9udW1iZXIiOiJLTVNyMTcxIiwibnVtIjoiIn1d/KMSr171.jpg","image_orientation":"portrait","image_hq":true,"has_3d_file":false,"has_image":true,"colors":["#69b498","#71b99e","#d73b2e","#ee796b","#212257","#111111","#d689ae","#b97438","#a26095","#fcf1a6","#fdcec7","#f9ea87","#033829","#add1aa"],"suggested_bg_color":["#b97438"],"entropy":9.792371,"contrast":3.5664434,"saturation":3.9823616,"colortemp":3.5836792,"brightness":5.370598,"has_text":true,"artist":["Henri Matisse"]}]}