{"product_id":"henri-matisse-print-the-seated-riffian-1912","title":"Henri Matisse Print, The Seated Riffian (1912)","description":"\u003ch2\u003eThe Seated Riffian (1912) by Henri Matisse\u003c\/h2\u003e\n\n\u003cp\u003e\u003cstrong\u003eHenri Matisse's \u003cem\u003eThe Seated Riffian (Le Rifain assis)\u003c\/em\u003e (1912)\u003c\/strong\u003e is one of the monumental portraits produced during the artist's transformative visits to Morocco. A seated man from the Rif region of northern Morocco fills almost the entire canvas, his richly patterned clothing, dark green forms and strikingly simplified face transformed through Matisse's increasingly confident use of colour and flattened pictorial space.\u003c\/p\u003e\n\n\u003cp\u003ePainted between November and December 1912, the original is an imposing oil on canvas measuring more than two metres high. Today it belongs to the \u003cstrong\u003eBarnes Foundation in Philadelphia\u003c\/strong\u003e.\u003c\/p\u003e\n\n\u003cp\u003eAvailable as a \u003cstrong\u003eHenri Matisse fine art print, framed print or canvas wall art\u003c\/strong\u003e, \u003cem\u003eThe Seated Riffian\u003c\/em\u003e combines monumental portraiture with the remarkable colour relationships that made Matisse one of the defining artists of twentieth-century modernism.\u003c\/p\u003e\n\n\u003ch2\u003eMatisse in Morocco\u003c\/h2\u003e\n\n\u003cp\u003eMatisse travelled to Morocco during 1912 and 1913, working principally in and around Tangier.\u003c\/p\u003e\n\n\u003cp\u003eThe journeys came at an important moment in his development. His concentrated Fauvist period had already passed, yet the liberation of colour achieved through \u003ca href=\"https:\/\/gallerythane.com\/collections\/fauvism-prints\"\u003eFauvism\u003c\/a\u003e remained fundamental to his work.\u003c\/p\u003e\n\n\u003cp\u003eMorocco provided Matisse with different landscapes, architectural forms, textiles, clothing and qualities of light. These experiences encouraged him to explore increasingly simplified compositions in which broad areas of colour could carry much of the expressive force of the painting.\u003c\/p\u003e\n\n\u003cp\u003eAmong the works associated with these visits are landscapes, window paintings, café scenes and portraits including \u003cem\u003eThe Seated Riffian\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003ch2\u003eWho Is the Seated Riffian?\u003c\/h2\u003e\n\n\u003cp\u003eThe title refers to a man from the \u003cstrong\u003eRif\u003c\/strong\u003e, the mountainous region of northern Morocco.\u003c\/p\u003e\n\n\u003cp\u003eThe Barnes Foundation describes the subject as a tribesman from the Rif Mountains whom Matisse painted during his 1912 visit to Morocco.\u003c\/p\u003e\n\n\u003cp\u003eThe man's individual identity is not securely established in the museum record, so the painting should not be treated as a conventional named portrait.\u003c\/p\u003e\n\n\u003cp\u003eInstead, Matisse concentrates upon the physical presence of the sitter, the shape of his clothing and the relationship between figure and surrounding colour.\u003c\/p\u003e\n\n\u003ch2\u003eA Monumental Figure\u003c\/h2\u003e\n\n\u003cp\u003eOne of the most striking characteristics of \u003cem\u003eThe Seated Riffian\u003c\/em\u003e is its enormous scale.\u003c\/p\u003e\n\n\u003cp\u003eThe original measures approximately \u003cstrong\u003e200.3 × 160.7 cm\u003c\/strong\u003e. The seated man therefore occupies a canvas considerably larger than the average domestic portrait.\u003c\/p\u003e\n\n\u003cp\u003eHe dominates the composition from top to bottom.\u003c\/p\u003e\n\n\u003cp\u003eThere is little surrounding space to distract from him. His body forms a broad central mass, while clothing, hands, face and background are organised into large areas of colour.\u003c\/p\u003e\n\n\u003cp\u003eThis monumental treatment gives the sitter an imposing physical presence despite the apparent stillness of his pose.\u003c\/p\u003e\n\n\u003ch2\u003eColour Rather Than Conventional Modelling\u003c\/h2\u003e\n\n\u003cp\u003eMatisse does not attempt to model the figure through subtle transitions between light and shadow in the traditional academic manner.\u003c\/p\u003e\n\n\u003cp\u003eInstead, colour performs much of the structural work.\u003c\/p\u003e\n\n\u003cp\u003eDeep greens, blues and darker tones establish the broad shape of the body, while the face is dramatically simplified.\u003c\/p\u003e\n\n\u003cp\u003eThe clothing becomes particularly important. Decorative motifs and contrasting borders interrupt the large mass of green and help articulate the sitter's pose.\u003c\/p\u003e\n\n\u003cp\u003eFigure and costume consequently become inseparable from the overall colour structure of the painting.\u003c\/p\u003e\n\n\u003cp\u003eThis approach reflects one of Matisse's central artistic ideas: colour did not need merely to reproduce what the eye saw. It could organise the entire composition.\u003c\/p\u003e\n\n\u003ch2\u003eFrom Fauvism to the Moroccan Paintings\u003c\/h2\u003e\n\n\u003cp\u003e\u003cem\u003eThe Seated Riffian\u003c\/em\u003e was painted around seven years after Matisse's revolutionary summer at Collioure with André Derain.\u003c\/p\u003e\n\n\u003cp\u003eHis style had changed substantially.\u003c\/p\u003e\n\n\u003cp\u003eThe broken brushwork and rapidly juxtaposed colours of the early Fauvist landscapes had increasingly given way to larger, calmer colour areas and more monumental forms.\u003c\/p\u003e\n\n\u003cp\u003eYet the underlying principle remained closely connected with Fauvism.\u003c\/p\u003e\n\n\u003cp\u003eMatisse still refused to make colour subordinate to natural appearance.\u003c\/p\u003e\n\n\u003cp\u003eIn the Moroccan paintings, however, this freedom is combined with a stronger concern for simplification, stillness and pictorial structure.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eThe Seated Riffian\u003c\/em\u003e therefore provides an excellent example of how Matisse developed \u003cstrong\u003ebeyond Fauvism without abandoning its most important discoveries\u003c\/strong\u003e.\u003c\/p\u003e\n\n\u003ch2\u003eThe Face of the Seated Riffian\u003c\/h2\u003e\n\n\u003cp\u003eThe sitter's face is one of the most memorable areas of the painting.\u003c\/p\u003e\n\n\u003cp\u003eRather than describing every feature in detail, Matisse reduces the head to a comparatively small number of strong colour divisions and outlines.\u003c\/p\u003e\n\n\u003cp\u003eThe treatment appears almost mask-like when compared with conventional European portraiture of the period.\u003c\/p\u003e\n\n\u003cp\u003eThis simplification shifts attention away from anatomical description towards the overall relationship between face, clothing and background.\u003c\/p\u003e\n\n\u003cp\u003eThe effect is characteristic of Matisse's increasingly radical approach to portraiture: individual features remain recognisable, but they are subordinated to the needs of the complete composition.\u003c\/p\u003e\n\n\u003ch2\u003ePattern and Clothing\u003c\/h2\u003e\n\n\u003cp\u003eClothing plays an unusually important role in \u003cem\u003eThe Seated Riffian\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eThe broad garment creates much of the figure's overall silhouette, while decorative borders and patterned elements supply smaller areas of visual activity.\u003c\/p\u003e\n\n\u003cp\u003eMatisse had a lifelong fascination with textiles.\u003c\/p\u003e\n\n\u003cp\u003eCarpets, fabrics, screens, patterned dresses and decorative materials recur throughout his interiors and portraits. They allowed him to connect the human figure with its surroundings through colour and ornament.\u003c\/p\u003e\n\n\u003cp\u003eIn \u003cem\u003eThe Seated Riffian\u003c\/em\u003e, costume is not incidental detail. It is a major structural element of the painting.\u003c\/p\u003e\n\n\u003ch2\u003eMatisse, Morocco and Historical Context\u003c\/h2\u003e\n\n\u003cp\u003eMatisse's Moroccan paintings were produced during a period of European colonial expansion in North Africa.\u003c\/p\u003e\n\n\u003cp\u003eMorocco became a French protectorate in 1912, the same year in which \u003cem\u003eThe Seated Riffian\u003c\/em\u003e was painted.\u003c\/p\u003e\n\n\u003cp\u003eEuropean artists had long represented North Africa through the tradition usually described as Orientalism, often emphasising difference, spectacle and an imagined sense of exoticism.\u003c\/p\u003e\n\n\u003cp\u003eMatisse's Moroccan works form part of this broader historical context and should be viewed with that history in mind.\u003c\/p\u003e\n\n\u003cp\u003eAt the same time, his principal formal concerns were increasingly centred upon colour, pattern, simplification and the relationship between figure and surface.\u003c\/p\u003e\n\n\u003cp\u003eIn \u003cem\u003eThe Seated Riffian\u003c\/em\u003e, detailed anecdotal storytelling is largely absent. The sitter is presented frontally and monumentally, with the painting's impact deriving primarily from colour, form and presence.\u003c\/p\u003e\n\n\u003ch2\u003eThe Painting's Early Exhibition History\u003c\/h2\u003e\n\n\u003cp\u003e\u003cem\u003eThe Seated Riffian\u003c\/em\u003e was shown soon after Matisse returned from Morocco.\u003c\/p\u003e\n\n\u003cp\u003eIn April 1913 it appeared in the exhibition \u003cem\u003eHenri-Matisse, Tableaux du Maroc et Sculpture\u003c\/em\u003e at \u003cstrong\u003eGalerie Bernheim-Jeune in Paris\u003c\/strong\u003e, where it was catalogued as \u003cem\u003eLe Rifain assis\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eThe work was subsequently exhibited in Berlin and Rome and later appeared in important international Matisse exhibitions.\u003c\/p\u003e\n\n\u003cp\u003eIts early exhibition history demonstrates that the painting formed an integral part of the group through which Matisse presented the artistic results of his Moroccan experience.\u003c\/p\u003e\n\n\u003ch2\u003eFrom Matisse's Studio to the Barnes Foundation\u003c\/h2\u003e\n\n\u003cp\u003eThe painting remained with Matisse for several years after its creation.\u003c\/p\u003e\n\n\u003cp\u003eIt subsequently passed through several important modern-art collections and dealers.\u003c\/p\u003e\n\n\u003cp\u003ePaul Rosenberg had the painting by 1919, and it later belonged to Danish collector \u003cstrong\u003eChristian Tetzen-Lund\u003c\/strong\u003e.\u003c\/p\u003e\n\n\u003cp\u003eIt then passed to Parisian dealer and collector \u003cstrong\u003ePaul Guillaume\u003c\/strong\u003e.\u003c\/p\u003e\n\n\u003cp\u003eOn 19 January 1925, \u003cstrong\u003eAlbert C. Barnes\u003c\/strong\u003e purchased \u003cem\u003eThe Seated Riffian\u003c\/em\u003e from Guillaume.\u003c\/p\u003e\n\n\u003cp\u003eIt has remained part of the Barnes collection ever since.\u003c\/p\u003e\n\n\u003ch2\u003eThe Seated Riffian at the Barnes Foundation\u003c\/h2\u003e\n\n\u003cp\u003eToday the original painting belongs to the \u003cstrong\u003eBarnes Foundation in Philadelphia\u003c\/strong\u003e, accession number BF264.\u003c\/p\u003e\n\n\u003cp\u003eIt forms part of one of the world's most important collections of works by Matisse.\u003c\/p\u003e\n\n\u003cp\u003eAlbert Barnes was an early and enthusiastic collector of modern European painting, and Matisse became exceptionally well represented within the collection.\u003c\/p\u003e\n\n\u003cp\u003eThe scale of \u003cem\u003eThe Seated Riffian\u003c\/em\u003e makes it particularly commanding within the distinctive ensemble displays for which the Barnes Foundation is known.\u003c\/p\u003e\n\n\u003ch2\u003eOriginal Artwork Details\u003c\/h2\u003e\n\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Henri Matisse (1869–1954)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eSeated Riffian\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFrench title:\u003c\/strong\u003e \u003cem\u003eLe Rifain assis\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDate:\u003c\/strong\u003e Between November and December 1912\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMedium:\u003c\/strong\u003e Oil on canvas\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDimensions:\u003c\/strong\u003e 200.3 × 160.7 cm (78⅞ × 63¼ inches)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCollection:\u003c\/strong\u003e The Barnes Foundation, Philadelphia\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAccession number:\u003c\/strong\u003e BF264\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003ch2\u003eAbout Henri Matisse\u003c\/h2\u003e\n\n\u003cp\u003e\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e was born in Le Cateau-Cambrésis, France, in 1869 and became one of the most influential artists of twentieth-century modernism.\u003c\/p\u003e\n\n\u003cp\u003eOriginally trained in law, Matisse turned to painting and studied in Paris, including under Gustave Moreau at the École des Beaux-Arts.\u003c\/p\u003e\n\n\u003cp\u003eHis decisive breakthrough came during the early twentieth century when he and artists including André Derain began using intense, non-naturalistic colour with unprecedented freedom.\u003c\/p\u003e\n\n\u003cp\u003eTheir controversial paintings shown at the 1905 Salon d'Automne contributed to the emergence of \u003cstrong\u003eFauvism\u003c\/strong\u003e.\u003c\/p\u003e\n\n\u003cp\u003eMatisse subsequently moved far beyond the concentrated Fauvist period.\u003c\/p\u003e\n\n\u003cp\u003eHis career encompassed monumental figure paintings, decorative interiors, portraits, still lifes, Moroccan subjects, experimental paintings of the 1910s, the Nice-period odalisques and finally the extraordinary cut-paper compositions of his later years.\u003c\/p\u003e\n\n\u003cp\u003eAcross these changes, colour, rhythm, simplification and the relationship between figure and surrounding space remained central to his art.\u003c\/p\u003e\n\n\u003cp\u003eExplore more works in GalleryThane's \u003ca href=\"https:\/\/gallerythane.com\/collections\/henri-matisse\"\u003eHenri Matisse prints collection\u003c\/a\u003e.\u003c\/p\u003e\n\n\u003ch2\u003eHenri Matisse's Painting Style\u003c\/h2\u003e\n\n\u003ch3\u003eExpressive Colour\u003c\/h3\u003e\n\n\u003cp\u003eMatisse treated colour as a structural and emotional component of painting rather than simply a means of reproducing natural appearance.\u003c\/p\u003e\n\n\u003ch3\u003eSimplified Form\u003c\/h3\u003e\n\n\u003cp\u003eFigures and objects are frequently reduced to the shapes and lines Matisse considered essential.\u003c\/p\u003e\n\n\u003ch3\u003ePattern\u003c\/h3\u003e\n\n\u003cp\u003eTextiles and decorative surfaces repeatedly play an active role in his compositions rather than functioning merely as background detail.\u003c\/p\u003e\n\n\u003ch3\u003eFlattened Space\u003c\/h3\u003e\n\n\u003cp\u003eMatisse often reduced conventional three-dimensional depth so that figures, furniture, landscape and pattern operated more strongly across the flat surface of the canvas.\u003c\/p\u003e\n\n\u003ch3\u003eMonumentality\u003c\/h3\u003e\n\n\u003cp\u003eIn works such as \u003cem\u003eThe Seated Riffian\u003c\/em\u003e, simplification does not diminish the figure. Instead, the broad areas of colour and reduced detail give the sitter an unusually powerful physical presence.\u003c\/p\u003e\n\n\u003ch2\u003eDisplaying The Seated Riffian in Your Home\u003c\/h2\u003e\n\n\u003cp\u003eA \u003cstrong\u003eThe Seated Riffian print by Henri Matisse\u003c\/strong\u003e makes a particularly strong statement because of its vertical format and imposing central figure.\u003c\/p\u003e\n\n\u003cp\u003eThe painting's deep green, blue and dark tones work effectively against warm white, cream, stone, putty and pale neutral walls.\u003c\/p\u003e\n\n\u003cp\u003eNatural timber, walnut, dark wood and restrained brass accents can complement its sophisticated palette without competing with the artwork.\u003c\/p\u003e\n\n\u003cp\u003eThe vertical proportions make it particularly useful above a console table, on a tall hallway wall, beside a fireplace or as the principal artwork within a portrait-led gallery wall.\u003c\/p\u003e\n\n\u003cp\u003eBecause the composition is already visually powerful, surrounding décor can remain relatively restrained.\u003c\/p\u003e\n\n\u003ch2\u003eThe Seated Riffian Prints, Framed Prints and Canvas Wall Art\u003c\/h2\u003e\n\n\u003cp\u003eGalleryThane offers \u003cstrong\u003e\u003cem\u003eThe Seated Riffian\u003c\/em\u003e by Henri Matisse\u003c\/strong\u003e in a range of print sizes and presentation formats.\u003c\/p\u003e\n\n\u003cp\u003eChoose a fine art paper print for a traditional presentation, add a professionally made frame and mount for ready-to-display wall art, or select a canvas option for a more contemporary finish.\u003c\/p\u003e\n\n\u003cp\u003eGalleryThane prints and frames its artwork in-house using archival art stocks, pigment inks and carefully selected framing materials.\u003c\/p\u003e\n\n\u003ch2\u003eFrequently Asked Questions\u003c\/h2\u003e\n\n\u003ch3\u003eWhen did Henri Matisse paint The Seated Riffian?\u003c\/h3\u003e\n\n\u003cp\u003eMatisse painted \u003cem\u003eThe Seated Riffian\u003c\/em\u003e between \u003cstrong\u003eNovember and December 1912\u003c\/strong\u003e during his Moroccan period.\u003c\/p\u003e\n\n\u003ch3\u003eWhat is the French title of The Seated Riffian?\u003c\/h3\u003e\n\n\u003cp\u003eThe French title is \u003cem\u003eLe Rifain assis\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003ch3\u003eWhat does “Riffian” mean?\u003c\/h3\u003e\n\n\u003cp\u003eA Riffian is a person associated with the Rif region of northern Morocco. The Barnes Foundation identifies Matisse's sitter as a tribesman from the Rif Mountains.\u003c\/p\u003e\n\n\u003ch3\u003eDo we know the name of the sitter?\u003c\/h3\u003e\n\n\u003cp\u003eThe Barnes Foundation's published record identifies the subject by his regional origin rather than by an individual name. It is therefore safest to refer to him as the seated Riffian rather than assigning an undocumented identity.\u003c\/p\u003e\n\n\u003ch3\u003eWhere did Matisse paint The Seated Riffian?\u003c\/h3\u003e\n\n\u003cp\u003eThe painting belongs to the group of works Matisse produced during his travels in Morocco in 1912.\u003c\/p\u003e\n\n\u003ch3\u003eIs The Seated Riffian a Fauvist painting?\u003c\/h3\u003e\n\n\u003cp\u003eIt was painted several years after the concentrated Fauvist period of approximately 1905–07. However, Matisse's Fauvist discovery that colour could operate independently from natural appearance remained fundamental to the painting.\u003c\/p\u003e\n\n\u003ch3\u003eWhy is The Seated Riffian important?\u003c\/h3\u003e\n\n\u003cp\u003eIts monumental scale, simplified figure, bold colour relationships and connection with Matisse's Moroccan period make it an important example of his development beyond Fauvism during the early 1910s.\u003c\/p\u003e\n\n\u003ch3\u003eHow large is the original The Seated Riffian?\u003c\/h3\u003e\n\n\u003cp\u003eThe original measures approximately \u003cstrong\u003e200.3 × 160.7 cm\u003c\/strong\u003e, making it an exceptionally large portrait.\u003c\/p\u003e\n\n\u003ch3\u003eWhat medium did Matisse use?\u003c\/h3\u003e\n\n\u003cp\u003eThe original is painted in \u003cstrong\u003eoil on canvas\u003c\/strong\u003e.\u003c\/p\u003e\n\n\u003ch3\u003eWhere is the original The Seated Riffian?\u003c\/h3\u003e\n\n\u003cp\u003eThe painting belongs to the \u003cstrong\u003eBarnes Foundation in Philadelphia\u003c\/strong\u003e, where it has accession number BF264.\u003c\/p\u003e\n\n\u003ch3\u003eWhen did Albert Barnes acquire The Seated Riffian?\u003c\/h3\u003e\n\n\u003cp\u003eAlbert C. Barnes purchased the painting from dealer Paul Guillaume on \u003cstrong\u003e19 January 1925\u003c\/strong\u003e.\u003c\/p\u003e\n\n\u003ch3\u003eWas The Seated Riffian exhibited during Matisse's lifetime?\u003c\/h3\u003e\n\n\u003cp\u003eYes. It was included in Matisse's exhibition of Moroccan paintings and sculpture at Galerie Bernheim-Jeune in Paris in April 1913 and subsequently appeared in numerous international exhibitions.\u003c\/p\u003e\n\n\u003ch3\u003eWhy is the sitter's clothing important?\u003c\/h3\u003e\n\n\u003cp\u003eThe clothing provides much of the composition's visual structure. Broad areas of colour establish the body while decorative borders and patterns create rhythm and contrast across the figure.\u003c\/p\u003e\n\n\u003ch3\u003eWhat interior styles suit a The Seated Riffian print?\u003c\/h3\u003e\n\n\u003cp\u003eIts strong vertical form and sophisticated green, blue and dark palette work particularly well in contemporary, eclectic, mid-century and restrained modern interiors.\u003c\/p\u003e\n\n\u003ch3\u003eCan I buy The Seated Riffian as a framed print?\u003c\/h3\u003e\n\n\u003cp\u003eYes. GalleryThane offers \u003cem\u003eThe Seated Riffian\u003c\/em\u003e as a fine art print with framing options and in canvas formats across a choice of sizes.\u003c\/p\u003e\n","brand":"OnTrendAndFab","offers":[{"title":"8x10 inches \/ smooth art paper \/ Black Frame with white mount","offer_id":46094793375935,"sku":null,"price":141.95,"currency_code":"EUR","in_stock":true},{"title":"8x10 inches \/ smooth art paper \/ Unframed","offer_id":46094793408703,"sku":null,"price":29.95,"currency_code":"EUR","in_stock":true},{"title":"8x10 inches \/ smooth art paper \/ White Frame with White Mount","offer_id":46094793441471,"sku":null,"price":140.95,"currency_code":"EUR","in_stock":true},{"title":"8x10 inches \/ smooth art paper \/ Light Grey Frame with White Mount","offer_id":46094793474239,"sku":null,"price":140.95,"currency_code":"EUR","in_stock":true},{"title":"8x10 inches \/ smooth art paper \/ Dark Grey Frame with White 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