Photo By Gail
Fittingly, artist Roger Frey (1866 – 1934) memorialize the public debut of Henri Matisse’s The Red Studio in a painting that represents a group of Matisses artworks arranged in situ. A Room in the Second Post-Impressionist Exhibition (1912) is the only surviving visual documentation of Pinneau Rouge on display at the Grafton Galleries in London in 1912. The gentleman on the leather sofa is probably the artist Duncan Grant, an admirer of Matisse who had been welcomed as a visitor to the studio at Issy. Grant was one of several members of the Bloomsbury Group (a close-knit circle of British artists and writers) who worked with Fry to organize the show.
Photographed in the Museum of Modern Art in New York City
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Photo By Gail
By the 1970s, Roy Lichtenstein’s comic-strip style of painting had become his trademark. While he had adapted his early compositions from actual comic books, here Lichtenstein referred to an art historical rather than a pop culture source: Henri Matisse’s Red Studio (1911, in the collection of MoMA), which features Matisse’s canvases casually set around a room. Into the flattened studio space of Artists Studio Foot Medication (1974), Lichtenstein similarly inserted whole of partial versions of his own real and imagined artworks across a range of subject matter, including geometric abstraction. This painting’s title calls out the 1962 print Foot Medication, reimagined as a monumental painting at the upper left. This kind of self-quotation, at once playful and thoughtful, would become anther feature of Lichtenstein’s production.
Photographed in the Art Institute Chicago.
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