亨利·马蒂斯《祖尔玛》

The subject of ZULMA is a nude in an interior; a recurring feature in countless of Matisse’s earlier paintings and sculptures. Here, however, she has been reduced to simply being a sign for woman, a coloured silhouette. The same is true of the space around the figure and the effect of light and shadow. Each element has been transformed to planes of colour interacting in accordance with the same principles used in PORTRAIT OF MADAME MATISSE, painted 45 years before. This paper cut-out is a prominent example of Matisse’s work from the last decade of his life. Through several phases of his career Matisse was absorbed by the relationship between colour and line. The paper cut-outs allowed him to work with both; he would “draw” by cutting coloured paper, thereby breaking down the barrier between the two.

《祖尔玛》的主题是一个室内裸体女性形象，这是马蒂斯早期无数绘画和雕塑中反复出现的特征。然而，在这里，她被简化为一个象征女性的符号，一个彩色的剪影。画面中人物周围的空间以及光影效果也被同样简化。每个元素都被转化为色块，这些色块之间的相互作用遵循了45年前马蒂斯在《马蒂斯夫人肖像》中所使用的相同原则。这幅剪纸作品是马蒂斯生命最后十年创作中的一个突出范例。在他职业生涯的多个阶段，马蒂斯一直专注于探索色彩与线条之间的关系。剪纸艺术使他能够同时运用这两者;他通过裁剪彩色纸张来“绘画”，从而打破了色彩与线条之间的界限。