Beginning in 1905, Matisse spent the summers—and sometimes even the winters—in Collioure and continued to do so intermittently until about 1914. It was in Collioure that the sitter for The Young Sailor, a local sardine fisherman, caught his eye. In this second version of the painting (the first, dated 1906, is in a private collection), the contours have been sharpened, the forms are more defined, and the colors have been reduced to large, mostly flat areas of bright green, blue, and pink—a decorative style and palette adopted by Matisse from this point on. Matisse also drastically altered the sailor's mood and expression. His stylizing brush wiped off the earlier round-cheeked youthfulness of the fisherman's face, replacing it with a masklike expression of savvy cunning from which a touch of licentiousness seems not absent. The sitter's rather theatrical looks and his colorful costume, set against the pink candy-colored ground, combine to make this work one of Matisse's most decorative portraits in the Fauve manner.
This image cannot be enlarged, viewed at full screen, or downloaded.
Open Access
As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes.
API
Public domain data for this object can also be accessed using the Met's Open Access API.
This image cannot be enlarged, viewed at full screen, or downloaded.
Artwork Details
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
Title:Young Sailor II
Artist:Henri Matisse (French, Le Cateau-Cambrésis 1869–1954 Nice)
Date:1906
Medium:Oil on canvas
Dimensions:39 7/8 × 32 11/16 in. (101.3 × 83 cm)
Classification:Paintings
Credit Line:Jacques and Natasha Gelman Collection, 1998
Object Number:1999.363.41
Inscription: Signed and dated (lower left): Henri-Matisse / 1906
the artist (1906–13; sold on October 9, 1913 to Bernheim-Jeune); [Bernheim-Jeune, Paris, 1913–22; stock no. 20027]; [Leopold Zborowski, Paris, 1922]; [J. B. Neumann, New York]; Hans Seligman-Schürch, Berlin and Basel (1923–52; sold on February 4, 1952, for $25,000, to Matisse); [Pierre Matisse Gallery, New York, 1952; stock no. SP3, sold on March 22, 1952, partly by exchange, for $35,000, to Block]; Mr. and Mrs. Leigh B. Block, Chicago (1952–69); [Marlborough Gallery, New York, 1969; sold in 1969 to Gelman]; Jacques and Natasha Gelman, Mexico City and New York (1969–his d. 1986); Natasha Gelman, Mexico City and New York (1986–d. 1998; her bequest to MMA)
Paris. Grand Palais des Champs-Élysées. "Salon d'Automne," October 1–November 8, 1908, no. 902 (as "Jeune marin").
Odessa. Former premises of the Society of Letters and Arts. "International Exhibition of Paintings, Sculpture, Prints and Drawing (Izdebsky Salon)," December 4, 1909–January 24, 1910, no. 375 (as "Sailor").
Kiev. Nikolaevskaia Street, 11. "International Exhibition of Paintings, Sculpture, Prints and Drawing (Izdebsky Salon)," February 13–March 14, 1910, no. 396 (as "Sailor").
St. Petersburg. House of Armenian Church. "International Exhibition of Paintings, Sculpture, Prints and Drawing (Izdebsky Salon)," April 19–May 25, 1910, no. 322 (as "Sailor").
Riga. City Art Museum. "International Exhibition of Paintings, Sculpture, Prints and Drawing (Izdebsky Salon)," June 12–July 7, 1910, no. 322.
New York. Armory of the Sixty-ninth Regiment. "International Exhibition of Modern Art (The Armory Show)," February 17–March 15, 1913, no. 405 (as "Jeune Marin").
Art Institute of Chicago. "International Exhibition of Modern Art (The Armory Show)," March 24–April 16, 1913, no. 241 (as "Young sailor").
Copley Hall, Copley Society of Boston. "International Exhibition of Modern Art (The Armory Show)," April 28–May 19, 1913, no. 122 (as "Young Sailor").
New York. Montross Gallery. "Henri Matisse Exhibition," January 20–February 27, 1915, no. 63 (as "The Young Sailor").
Barcelona. Galeries Dalmau. "Exposició d'Art francès d'Avantguarda," October 26–November 15, 1920, no. 51 (as "Jeune marin," lent by M. Bernheim, Paris).
Berlin. Galerien Thannhauser. "Henri Matisse," February 15–March 19, 1930, no. 18 (as "Sitzender Matrose," 1907) [either this picture or "The Young Sailor I"; see Ref. Rewald 1989].
Kunsthalle Basel. "Henri-Matisse," August 9–September 15, 1931, no. 14 (as "Le Marin," lent by Hans Seligmann [sic], Berlin).
Museum of Modern Art, New York. "Henri-Matisse: Retrospective Exhibition," November 3–December 6, 1931, no. 14 (as "The Young Sailor," lent by Hans Seligman, Berlin).
Philadelphia Museum of Art. "Henri Matisse: Retrospective Exhibition of Paintings, Drawings and Sculpture," April 3–May 9, 1948, no. 10 (as "The Young Sailor," lent by Hans Seligman, Basel).
Musée des Beaux-Arts, Lucerne. "Henri Matisse," July 9–October 22, 1949, no. 34 (as "Le marin").
Kunsthalle Bern. "Les Fauves: Braque, Derain, Dufy, Friesz, Manguin, Marinot, Marquet, Matisse, Valtat, van Dongen, Vlaminck," April 29–May 29, 1950, no. 97 (as "Le marin," lent by a private collection, Basel).
Venice. Biennale. "XXV Biennale di Venezia," June 8–October 15, 1950, Sala IV, no. 45 (as "Il marinaio," lent by a private collection, Basel).
Milan. Palazzo Reale. "Mostra di Matisse," November 1–21, 1950, no. 16 (as "Il marinaio," lent by a private collection, Basel).
Museum of Modern Art, New York. "Henri Matisse," November 13, 1951–January 13, 1952, no. 15 (as "The Young Sailor, II," lent by Hans Seligman-Schürch, Basel).
Cleveland Museum of Art. "Henri Matisse," February 5–March 16, 1952, no. 15.
Art Institute of Chicago. "Henri Matisse," April 1–May 4, 1952, no. 15.
San Francisco Museum of Art. "Henri Matisse," May 22–July 6, 1952, no. 15.
Los Angeles. UCLA Art Galleries. "Henri Matisse: Retrospective 1966," January 5–February 27, 1966, no. 24 (as "The Young Sailor, II," lent by Mr. and Mrs. Leigh Block, Chicago).
Art Institute of Chicago. "Henri Matisse: Retrospective 1966," March 11–April 24, 1966, no. 24.
Museum of Fine Arts, Boston. "Henri Matisse: Retrospective 1966," May 11–June 26, 1966, no. 24.
Museum of Modern Art, New York. "Henri Matisse: 64 Paintings," July 19–September 25, 1966, no. 12 (as "The Young Sailor, II," lent by Mr. and Mrs. Leigh B. Block, Chicago).
Washington, D.C. National Gallery of Art. "100 European Paintings & Drawings from the Collection of Mr. and Mrs. Leigh B. Block," May 4–June 11, 1967, no. 31 (as "Young Sailor [version II]").
Los Angeles County Museum of Art. "100 European Paintings & Drawings from the Collection of Mr. and Mrs. Leigh B. Block," September 21–November 2, 1967, no. 31.
Boston. Museum of Fine Arts. "One Hundred European Paintings & Drawings from the Collection of Mr. & Mrs. Leigh B. Block," February 2–April 14, 1968, no. 32 (as "Young Sailor [version II]").
Paris. Grand Palais. "Henri Matisse: Exposition du centenaire," April 21–September 21, 1970, no. 82 (as "Marin II," lent by M. et Mme Jacques Gelman, Mexico).
New York. Acquavella Galleries, Inc. "Henri Matisse," November 2–December 1, 1973, no. 5 (as "Jeune marin II," lent by Mr. and Mrs. Jacques Gelman).
Sydney. Art Gallery of New South Wales. "Modern Masters: Manet to Matisse," April 10–May 11, 1975, no. 64 (as "The Young Sailor," lent by Mr. and Mrs. Jacques Gelman, Mexico City).
Melbourne. National Gallery of Victoria. "Modern Masters: Manet to Matisse," May 28–June 22, 1975, no. 64.
New York. Museum of Modern Art. "Modern Masters: Manet to Matisse," August 4–September 1, 1975, no. 64.
Museum of Modern Art, New York. "The 'Wild Beasts': Fauvism and Its Affinities," March 26–June 1, 1976, unnumbered cat. (p. 96; as "The Young Sailor II," lent by Mr. and Mrs. Jacques Gelman, Mexico City).
San Francisco Museum of Modern Art. "The 'Wild Beasts': Fauvism and Its Affinities," June 29–August 15, 1976, unnumbered cat.
Fort Worth. Kimbell Art Museum. "The 'Wild Beasts': Fauvism and Its Affinities," September 11–October 31, 1976, unnumbered cat.
New York. The Metropolitan Museum of Art. "Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection," December 12, 1989–April 1, 1990, unnumbered cat. (p. 88).
London. Royal Academy of Arts. "Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection," April 19–July 15, 1990, unnumbered cat.
Museum of Modern Art, New York. "Henri Matisse: A Retrospective," September 24, 1992–January 12, 1993, extended to January 19, 1993, no. 90 (as "The Young Sailor [II]").
Paris. Centre Georges Pompidou. "Henri Matisse 1904–1917," February 25–June 21, 1993, no. 45bis (as "Le jeune marin II").
Martigny. Fondation Pierre Gianadda. "De Matisse à Picasso: Collection Jacques et Natasha Gelman," June 18–November 1, 1994, unnumbered cat. (p. 113; as "Le Jeune Marin II").
New York. The Metropolitan Museum of Art. "Painters in Paris: 1895–1950," March 8–December 31, 2000, extended to January 14, 2001, unnumbered cat. (p. 64; as "The Young Sailor II").
Kyoto Municipal Museum of Art. "Picasso and the School of Paris: Paintings from The Metropolitan Museum of Art, New York," September 14–November 24, 2002, no. 9 (as "The Young Sailor").
Tokyo. Bunkamura Museum of Art. "Picasso and the School of Paris: Paintings from The Metropolitan Museum of Art, New York," December 7, 2002–March 9, 2003, no. 9.
New York. The Metropolitan Museum of Art. "The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions," October 24, 2008–February 1, 2009, online catalogue (as "The Young Sailor").
Copenhagen. Statens Museum for Kunst. "Matisse—fordobling og variation," July 14–October 28, 2012, no. 11.
New York. The Metropolitan Museum of Art. "Matisse: In Search of True Painting," December 4, 2012–March 17, 2013, no. 11.
New York. Museum of Modern Art. "Matisse: The Red Studio," May 1–September 10, 2022, no. 3 (as "Young Sailor (II)").
Copenhagen. Statens Museum for Kunst. "Matisse: The Red Studio," October 13, 2022–February 26, 2023, no. 3.
New York. The Metropolitan Museum of Art. "Vertigo of Color: Matisse, Derain, and the Origins of Fauvism," October 13, 2023–January 21, 2024, unnumbered cat. (pl. 61).
Fondation Louis Vuitton, Paris. "Matisse, L'Atelier rouge," May 4–September 9, 2024, no. 2 (as "Jeune marin (II)").
André Derain. Letter to Henri Matisse. end April 1907 [published in Ref. Labrusse 2005, pp. 343–45], criticizes the decorativeness of this picture.
Nikolai Breshko-Breshkovskii. "The Salon." Birzhevye vedomosti [Stock Exchange Gazette] (April 21, 1910) [English transl. published in Ilia Dorontchenkov, ed., "Russian and Soviet Views of Modern Western Art: 1890s to Mid-1930s," Berkeley, 2009, p. 100].
Alexander Benois. "The 'Salon' and Bakst's School." Rech' [Speech] (May 1, 1910) [English transl. published in Ilia Dorontchenkov, ed., "Russian and Soviet Views of Modern Western Art: 1890s to Mid-1930s," Berkeley, 2009, p. 100].
Henri Matisse. Letter to Walter Pach. December 6, 1912 [reproduced and published in English transl. in Ref. Cauman 1991, pp. 3, 5], calls this picture "Jeune marin" and lists this picture among those that he will lend to the Armory Show; notes that it is for sale.
W. D. MacColl. "The International Exhibition of Modern Art: An Impression." Forum 50 (July 1913), p. 34.
Charles Henry Dorr. "Cubists and Futurists Have Reached America." World (February 23, 1913), section 2, p. 2.
Charles H. Caffin. "The International—Yes—But Matisse and Picabia? Work of Leading Spirits in Modern Movement is Discussed in Contrast." New York American (March 3, 1913), p. 8.
Charles H. Caffin. "Matisse's Career Is Shown in Representative Exhibition." New York American (January 25, 1915), p. 8.
Walter Pach. "Why Matisse?" Century Magazine (February 1915), pp. 633–36, ill.
Marcel Sembat. Henri Matisse. Paris, 1920, ill. p. 31, dates it 1907.
"Originals of the Dial Folio of Living Art at Montross." Brooklyn Daily Eagle (February 3, 1924), p. 26, calls it "Sailor Boy".
Jan Gordon. Modern French Painters. London, 1929, ill. opp. p. 86 (color), erroneously as in the collection of James Rosenberg, Esq.
A[lfred]. H. B[arr]., Jr. Henri-Matisse: Retrospective Exhibition. Exh. cat., Museum of Modern Art. New York, 1931, pp. 13–14, 38, 46, no. 14, ill.
Christian Zervos. "Henri-Matisse. Notes on the Formation and Development of His Work." Henri Matisse. Paris, 1931, ill. between pp. 14 and 15, after p. 96 (installation photo, Exh. Basel 1931).
Virginia Nirdlinger. "The Matisse Way. Forty Years in the Evolution of an Individualist." Parnassus 3 (November 1931), p. 6.
Roger Fry. Henri-Matisse. New York, 1935, pl. 7, calls it "The Young Sailor".
R. H. Wilenski. Modern French Painters. New York, [1940], pp. 198, 201, 233, calls it "Le jeune marin".
Leo Swane. Henri Matisse. Stockholm, 1944, pp. 60–61, fig. 11.
Leo Stein. Appreciation: Painting, Poetry, and Prose. New York, 1947, p. 192, refers to this picture as a "free copy of ['Young Sailor I'] with extreme deformations"; recalls that Matisse pretended it was painted by the Collioure postman; notes that it was the artist's first experimentation with "forced deformations".
Frank Caspers. "Philadelphia Honors Henri Matisse with Impressive Retrospective." Art Digest 22 (April 15, 1948), ill. p. 9.
Henry Clifford. Henri Matisse: Retrospective Exhibition of Paintings, Drawings and Sculpture. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1948, p. 37, no. 10, ill. n. p., notes that it was painted during the same month as "Young Sailor I".
Maurice Raynal et al. History of Modern Painting. Vol. 2, Matisse, Munch, Rouault: Fauvism, Expressionism. Geneva, 1950, ill. p. 30 (color).
Art News 49 (September 1950), p. 5, ill. and on cover (color).
Denys Sutton. "Aspects of the Venice Biennale. I. The Fauves." Burlington Magazine 92 (September 1950), p. 265, calls it "Jeune Marin".
Alfred H. Barr Jr. Matisse: His Art and His Public. New York, 1951, pp. 82, 93–94, 97, 128–29, 149–50, 157, 163, 179, 194, 246, ill. p. 335, states that both versions of "Young Sailor" were painted during the same month in 1906, at Collioure; notes that Walter Pach suggested omitting this picture from the Montross Gallery exhibition [Exh. New York 1915] since it was poorly received in the Armory Show, but that Matisse "insisted, arguing that the public should see the strongest pictures even though it was offended by them at first".
Bernard Myers. "Matisse and the Fauves." American Artist 15 (December 1951), pp. 71, 86, ill., calls it "The Young Sailor".
Frank Anderson Trapp. "The Paintings of Henri Matisse: Origins and Early Development (1890–1917)." PhD diss., Harvard University, 1951, pp. 118–19, fig. 88, calls it "Le Jeune marin".
Henri Matisse. Portraits. Monte Carlo, 1954, ill. p. 91 (color), calls it "Le Jeune Matelot"; erroneously locates it as still in the collection of Hans Seligman [sic], Basel.
Georges Duthuit. Matisse, periode fauve. Paris, 1956, p. 15, colorpl. 5, calls it "Le Jeune marin à la casquette, Collioure" and erroneously locates it as still in a private collection, Basel.
Gaston Diehl with notices by Agnès Humbert. Henri Matisse. Paris, 1958, pp. 41, 101, 106, 121, pl. 26, erroneously locates it as still in the Hans Seligmann collection, Basel.
Bernard Myers. Modern Art in the Making. New York, 1959, pp. 279–81, fig. 138, calls it "The Young Sailor" and locates it in the collection of Mr. and Mrs. Leigh Block, Chicago.
Jacques Lassaigne. Matisse. Lausanne, 1959, p. 60.
Jean-Paul Crespelle. Les Fauves. Neuchâtel, 1962, colorpl. 8, calls it "Jeune homme à la casquette. Portrait de Pierre Matisse".
1913 Armory Show: 50th Anniversary Exhibition, 1963. Exh. cat., Munson-Williams-Proctor Institute, Utica. New York, 1963, p. 197, calls it "The Young Sailor, II (La jeune marin, II)".
Samuel Sachs, II. "Reconstructing the 'whirlwind of 26th Street'." Art News 61 (February 1963), ill. p. 26 (installation photo, Exh. Chicago 1913).
Charles Chassé. Les Fauves et leur temps. Paris, 1963, colorpl. 11, calls it "Jeune Homme à la Casquette—Portrait de Pierre Matisse".
Lawrence Gowing. Henri Matisse: 64 Paintings. Exh. cat., Museum of Modern Art, New York. New York, 1966, pp. 12, 61, no. 12, ill. p. 26.
Henry J. Seldis. "The Magic of Matisse." Apollo 83 (April 1966), p. 250, calls it "The Young Sailor II".
Joseph-Emile Muller. Fauvism. New York, 1967, p. 46, colorpl. 36, calls it "The Young Sailor".
Pierre Schneider with Tamara Préaud, ed. Henri Matisse: Exposition du centenaire. Exh. cat., Grand Palais. Paris, 1970, p. 72, no. 82, ill. p. 155, date it 1907; erroneously list the Sonderbund, Cologne, 1912 in the exhibition history.
Jean-Louis Ferrier. "1907: The Painter of 'Intimate Immensity'." XXe Siècle: Homage to Henri Matisse (1970), ill. p. 40, dates it 1906–7.
Gaston Diehl. Henri Matisse. Paris, 1970, pp. 14, 35, 57, ill. p. 12, calls it "Jeune Marin II" in the caption and "le Marin" in the text.
Massimo Carrà. L'opera di Matisse dalla rivolta 'fauve' all'intimismo, 1904–1928. Milan, 1971, pp. 88–89, no. 86, ill. and colorpl. XIV.
[Louis] Aragon. Henri Matisse: A Novel. [French ed., 1971]. New York, 1972, vol. 1, p. 301, colorpl. XLVI, calls it "The Young Sailor".
Hilton Kramer. "The Glories of Matisse Are Displayed." New York Times (November 3, 1973), p. 25.
John Elderfield. The "Wild Beasts": Fauvism and Its Affinities. Exh. cat., Museum of Modern Art. New York, 1976, p. 81, ill. p. 96 (color), dates it winter 1906–7.
John Russell. "The Birth of a Wild Beast." Horizon 18 (Summer 1976), pp. 8–9, ill. (color), calls it "The Young Sailor, II".
H. H. Arnason. History of Modern Art: Painting, Sculpture, Architecture. Rev. and enl. ed. New York, 1977, p. 117, fig. 179.
Lawrence Gowing. Matisse. New York, 1979, pp. 59–60, 206, fig. 42, calls it "Le jeune marin II (The Young Sailor II)" and dates it 1907–8.
Catherine C. Bock. Henri Matisse and Neo-Impressionism, 1898–1908. PhD diss.Ann Arbor, 1981, p. 112, calls it "Jeune marin II".
Marcel Giry. Fauvism: Origins and Development. New York, 1982, p. 149, colorpl. 61, calls it "Jeune marin II".
Magdalena Dabrowski in John Elderfield. The Drawings of Henri Matisse. Exh. cat., Hayward Gallery. London, 1984, pp. 255–56, under no. 19, identifies the model as Pierre Matisse [see Ref. Rewald 1989].
Nicholas Watkins. Matisse. Oxford, 1984, pp. 119, 122, pl. 103, dates it 1906–7 and states that it is a portrait of Pierre Matisse [see Ref. Rewald 1989].
Jack Flam in"Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern. Ed. William Rubin. Exh. cat., Museum of Modern Art. New York, 1984, vol. 1, pp. 221, 223, 238 n. 79, ill., calls it "The Young Sailor II"; comments that this picture was not painted directly from the model, but from the first version; observes that it is a "meditation on that [first] encounter and a rendering of it in conceptual terms," adding that Matisse only dated this second version "as if to imply that this is where he stood [artistically] in 1906".
John Klein. "Book Reviews." Art Journal 45 (Winter 1985), pp. 360, 367 n. 3, questions Schneider's [Ref. 1984] date of 1906–7 for this picture.
Jack Flam. Matisse: The Man and His Art, 1869–1918. Ithaca, 1986, pp. 19, 148, 175, 178, 187, 190, 234, 296, 301, 321, 347, 396, fig. 167 (color), calls it "The Young Sailor II".
Bernard Noël. Matisse. 2nd rev. ed. (1st ed., 1983). Paris, 1987, p. 23, ill. p. 29, calls it "Le Jeune Marin II" and dates it 1907.
Roger Benjamin. Matisse's "Notes of a Painter": Criticism, Theory, and Context, 1891–1908. Ann Arbor, 1987, pp. 112, 165, 291 nn. 196, 198, calls it "Jeune Marin II".
Milton W. Brown. The Story of the Armory Show. 2nd ed. [1st ed., 1963]. New York, 1988, pp. 127, 292, calls it "Jeune Marin"; notes that this work was lent by the artist to the 1913 Armory Show, where it was for sale for $1,350.
Lawrence Gowing inTwentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, pp. 19–20.
Pierre Schneider inTwentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, pp. 24–26, 29–30.
Sabine Rewald inTwentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, pp. 86, 88–91, 304, ill. (color and bw), identifies the sitter as an eighteen-year-old Collioure fisherman, Germain Augustin Barthélémy Montargès [see Refs. Rewald 1999, Matamoros 2005].
William S. Lieberman inTwentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, pp. 2–3, fig. 3 (color, installation photo).
John Russell. "20th-Century Works Collected By a Couple With a Shared Vision." New York Times (December 12, 1989), p. C19, ill. (detail).
Yve-Alain Bois. Painting as Model. Cambridge, Mass., 1990, p. 266 n. 46.
John Cauman. "Henri Matisse's Letters to Walter Pach." Archives of American Art Journal 31, no. 3 (1991), pp. 3, 5, ill. p. 9.
Gilles Néret. Matisse. [Paris], 1991, pp. 44, 49, 51–52, 97, fig. 65, calls it "Marin II".
John Elderfield. Henri Matisse: A Retrospective. Exh. cat., Museum of Modern Art. New York, 1992, pp. 133, 135, 165, no. 90, ill. (color), dates it Collioure or Paris, summer–winter 1906.
Dominique Fourcade and Isabelle Monod-Fontaine. Henri Matisse 1904–1917. Exh. cat., Centre Georges Pompidou. Paris, 1993, pp. 214–15, 440, no. 45bis, ill. (color and bw), date it Collioure, winter 1906–7 or spring 1907; reprint Ref. Stein 1947.
Walter Guadagnini. Matisse. Milan, 1993, pp. 14–16, 93, 101, ill., calls it "The Young Sailor II".
Sophie Monneret. Matisse. Paris, 1994, p. 92, no. 102, ill.
Isabelle de Wavrin. "L'Œil infaillible de Jacques Gelman." Beaux Arts no. 125 (July-August 1994), pp. 46–47, ill. (color).
Patrick-Gilles Persin. "La Collection Jacques et Natasha Gelman." L'Œil no. 465 (October 1994), p. 48.
Guy-Patrice and Michel Dauberville. Matisse: Henri Matisse chez Bernheim-Jeune. Paris, 1995, vol. 1, pp. 416–17, no. 73, ill., note that it was purchased by Bernheim-Jeune from the artist on October 9, 1913.
Jonathan Fineberg. "The Innocent Eye." Art News 94 (April 1995), pp. 118, 121, ill. (color), calls it "The Young Sailor II".
Bernard Zürcher. Les Fauves. Paris, 1995, pp. 189–90, ill. (color), calls it "Le Jeune Marin II".
Gilles Néret. Henri Matisse. Cologne, 1996, pp. 44–45, 54–55, 92, ill. (color), calls it "Sailor II" and dates it 1906–7.
Anna Gruetzner Robins. Modern Art in Britain 1910–1914. Exh. cat., Barbican Art Gallery. London, 1997, pp. 80–81, 191.
Jonathan Fineberg. The Innocent Eye: Children's Art and the Modern Artist. Princeton, 1997, pp. 15–16, 18, 228, fig. 1.10 (color), calls it "The Young Sailor (II)" and dates it summer 1906.
Hilary Spurling. The Unknown Matisse. A Life of Henri Matisse: The Early Years, 1869–1908. New York, 1998, p. 373, fig. 30 (color), calls it "The Young Sailor (II)".
Judith H. Dobrzynski. "20th Century Art Treasures Are Left to Met." New York Times (May 6, 1998), pp. A1, B6, ill.
William S. Lieberman. "Donation Gelman: l'École de Paris au Metropolitan." Connaissance des arts no. 554 (October 1998), pp. 104–5, fig. 3 (color), calls it "Le Jeune Marin II".
Andrew Decker. "Metropolitan: Une Exceptionnelle donation." Beaux Arts no. 170 (July 1998), p. 24, calls it "Jeune Marin II".
"The Jacques and Natasha Gelman Collection at the Metropolitan Museum of Art." Apollo 148 (December 1998), p. 48, ill. (color).
Sabine Rewald. "A Sailor's Yarn." Art in America 87 (October 1999), pp. 118–22, ill. (color), calls it "The Young Sailor II"; identifies the sitter as Germain Augustin Barthélémy Montargès (1888–1938), a Catalan fisherman, who posed for one day for this picture [see Ref. Matamoros 2005].
John H. Cauman. "Matisse and America, 1905–1933." PhD diss., City University of New York, 2000, vol. 1, pp. 27–28, 191, 193, 201, 204, 229, 258, 262, 271, 276–77, 494; vol. 2, fig. 1.12.
Christopher Green. Art in France 1900–1940. New Haven, 2000, pp. 237–38, fig. 281.
Grace Glueck. "When One City Was the Heart of Art's Youth." New York Times (March 10, 2000), p. E39.
Richard Feigen. Tales from the Art Crypt: The Painters, the Museums, the Curators, the Collectors, the Auctions, the Art. New York, 2000, p. 258.
William S. Lieberman. "Les Peintres de Paris à New York." Connaissance des arts no. 578 (December 2000), p. 129, calls it "Jeune Marin".
John Klein. Matisse Portraits. New Haven, 2001, pp. 13, 256 n. 28, comments that the two "paintings of the young sailor are no more portraits than the quasi-ethnographic generalizations Matisse made in his later depictions of Moroccans or Eskimos".
Werner Schnell. "Das rote Atelier" des Henri Matisse—ein Bild und seine Verwandten. Berlin, 2001, pp. 33, 70, 75, fig. 10, calls it "Matrose II" and dates it 1906–7.
Roberta Smith. "In a Brash Yet Refined School, Everyone Belongs Together." New York Times (June 15, 2001), p. E37.
Pierre Schneider. Matisse. Rev. ed. (English ed., 1984). Paris, 2002, pp. 281, 372, 393, 410, 414, 591, ill. p. 237 (color), calls it "Marin II" and dates it 1906–7.
William S. Lieberman inPicasso and the School of Paris: Paintings from The Metropolitan Museum of Art, New York. Exh. cat., Kyoto Municipal Museum of Art. [Tokyo], 2002, pp. 46, 167, no. 9, ill. p. 49 (color).
Carol Vogel. "Met Gets Gift of 100 Works Collected by Son of Matisse." New York Times (February 27, 2003), p. B9.
Alastair Wright. Matisse and the Subject of Modernism. Princeton, 2004, pp. 150–52, 256 n. 80, calls it "Young Sailor (II)"; considers the "insistent visibility of the colored outlines" in this picture to be analogous to the mechanical "reproductive technology of the woodcut".
Chika Amano inHenri Matisse: Processus / Variation. Exh. cat., National Museum of Western Art. Tokyo, 2004, p. 12, ill. p. 46, calls it "Le Jeune marin II".
Joséphine Matamoros inMatisse-Derain: Collioure 1905, un été fauve. Exh. cat., Musée départemental d'Art moderne, Céret. [Paris], 2005, pp. 22–23, 289 n. 68, identifies the sitter as Camille Calmon, who was sixteen years old at the time of this painting, based on information provided by Mme Matisse in the Archives Matisse.
Jack Flam inMatisse-Derain: Collioure 1905, un été fauve. Exh. cat., Musée départemental d'Art moderne, Céret. [Paris], 2005, pp. 39–41, 43, 231, no. 177, ill. (color and bw), calls it "Le Jeune Marin II" and dates it to the end of summer 1906.
Claudine Grammont inMatisse-Derain: Collioure 1905, un été fauve. Exh. cat., Musée départemental d'Art moderne, Céret. [Paris], 2005, pp. 278, 280, 282, 284.
Rémi Labrusse and Jacqueline Munck. Matisse-Derain: La Vérité du fauvisme. Paris, 2005, pp. 276, 285, 316.
Yve-Alain Bois. "A De Luxe Experiment: 'Le Luxe, II'." Matisse: Masterpieces at Statens Museum for Kunst. Copenhagen, 2005, pp. 113, 115, 130 n. 7.
Margaret Werth. "Nu à l'écharpe blanche: Une étoffe épaisse et chargée." Matisse: Masterpieces at Statens Museum for Kunst. Copenhagen, 2005, pp. 150, 153–54, calls it "Young Sailor, II".
Rémi Labrusse in Rémi Labrusse and Jacqueline Munck. Matisse-Derain: La Vérité du fauvisme. Paris, 2005, pp. 100, 105, 108, 110, 133, 343–45 n. 113, colorpl. 87, calls it "Le Jeune Marin II (Camille Calmon)" and dates it August–September 1906; publishes Ref. Derain 1907.
Jacqueline Munck in Rémi Labrusse and Jacqueline Munck. Matisse-Derain: La Vérité du fauvisme. Paris, 2005, p. 200.
Claude Jeancolas. L'Art fauve. Paris, 2006, pp. 130–31, 137, 144, ill. (color), calls it "Le jeune marin" in the caption and "Marin II" in the text.
Peter Kropmanns inMatisse: People, Masks, Models. Exh. cat., Staatsgalerie Stuttgart. Munich, 2008, pp. 60, 69 n. 9, fig. 5 (color), calls it "The Young Sailor II"; identifies the sitter as Germain Montargès.
Stephanie D'Alessandro in Stephanie D'Alessandro and John Elderfield. Matisse: Radical Invention 1913–1917. Exh. cat., Art Institute of Chicago. Chicago, 2010, p. 224, calls it "Young Sailor (II)".
Janet Bishop inThe Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde. Ed. Janet Bishop, Cécile Debray, and Rebecca Rabinow. Exh. cat., San Francisco Museum of Modern Art. San Francisco, 2011, p. 141, calls it "The Young Sailor II".
Janet Bishop, Cécile Debray, and Rebecca Rabinow, ed. The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde. Exh. cat., San Francisco Museum of Modern Art. San Francisco, 2011, p. 200.
Dorthe Aagesen and Rebecca Rabinow inMatisse: In Search of True Painting. Ed. Dorthe Aagesen and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2012, pp. ix, 5.
Christel Hollevoet-Force and Mary Chan inMatisse: In Search of True Painting. Ed. Dorthe Aagesen and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2012, pp. 199–200.
Rebecca Rabinow and Isabelle Duvernois inMatisse: In Search of True Painting. Ed. Dorthe Aagesen and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2012, pp. 36–37, 40–41, 184 n. 7, no. 11, ill. (color), p. 39 and back cover.
Dorthe Aagesen and Kathrine Segel inMatisse: In Search of True Painting. Ed. Dorthe Aagesen and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2012, p. 42.
Kasper Monrad inMatisse: In Search of True Painting. Ed. Dorthe Aagesen and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2012, p. 52.
Cécile Debray inMatisse. Paires et séries. Exh. cat., Centre Pompidou. Paris, 2012, pp. 14, 16, calls it "Le Jeune marin (II)".
Rebecca Rabinow inMatisse. Paires et séries. Exh. cat., Centre Pompidou. Paris, 2012, pp. 39, 41–43, ill. (color), dates it winter 1906–7 or spring 1907.
Yve-Alain Bois inMatisse. Paires et séries. Exh. cat., Centre Pompidou. Paris, 2012, pp. 48, 53 n. 6.
Alastair Wright inMatisse. Paires et séries. Exh. cat., Centre Pompidou. Paris, 2012, pp. 63, 67.
Elsa Urtizverea inMatisse. Paires et séries. Exh. cat., Centre Pompidou. Paris, 2012, pp. 269–70.
Mary Tompkins Lewis. "The Relentless Reviser." Wall Street Journal (December 18, 2012), p. D5, ill. (color).
Roberta Smith. "Evolving Toward Ecstasy." New York Times (November 30, 2012), pp. C23, C26.
Claudine Grammont inMatisse and the Fauves. Ed. Heinz Widauer and Claudine Grammont. Exh. cat., Albertina, Vienna. Cologne, 2013, p. 177.
Rémi Labrusse inMatisse and the Fauves. Ed. Heinz Widauer and Claudine Grammont. Exh. cat., Albertina, Vienna. Cologne, 2013, pp. 255–56, fig. 2 (color), calls it "The Young Sailor II" and dates it 1906–7.
Jack Flam inMatisse and the Fauves. Ed. Heinz Widauer and Claudine Grammont. Exh. cat., Albertina, Vienna. Cologne, 2013, p. 277.
Karen Wilkin. "Matisse: In Search of True Painting." New Criterion 31 (January 2013), p. 56.
William C. Agee inThe Armory Show at 100: Modernism and Revolution. Ed. Marilyn Satin Kushner and Kimberly Orcutt. Exh. cat., New-York Historical Society. New York and London, 2013, p. 220.
Marilyn Satin Kushner and Kimberly Orcutt, ed. The Armory Show at 100: Modernism and Revolution. Exh. cat., New-York Historical Society. New York and London, 2013, pp. 451, 467.
Kathryn Calley Galitz. The Metropolitan Museum of Art Masterpiece Paintings. New York, 2016, p. 518, ill. (color), colorpl. 423.
John Cauman inMatisse and American Art. Exh. cat., Montclair Art Museum. Montclair, N. J., 2017, pp. 21–22, fig. 5 (color).
Randall Griffey inAlice Neel: People Come First. Exh. cat., The Metropolitan Museum of Art. New York, 2021, p. 99, fig. 68 (color), caption incorrectly lists MMA accession number as "1999.366.41".
Abed Haddad et al. "Exploring the Private Universe of Henri Matisse in 'The Red Studio'." Heritage Science 10, no. 168 (2022), pp. 1–3, 9–10, 20–21, 24, figs. 1a (color), 8a (color) (online supplementary material: figs. S4, S5, S6, S7).
Ann Temkin and Dorthe Aagesen. Matisse: The Red Studio. Exh. cat., Museum of Modern Art, New York. New York, 2022, pp. 41, 58, 66–68, 91, 96, 116, 133 n. 27, p. 212, no. 3, figs. V.16 (color), VI.18 (installation photo, Exh. Chicago 1913), VIII.2 (installation photo, Exh. New York 1931).
Dorthe Aagesen et al. in Ann Temkin and Dorthe Aagesen. Matisse: The Red Studio. Exh. cat., Museum of Modern Art, New York. New York, 2022, pp. 138–39, 142–45, no. 2, ill. (color).
Isabelle Duvernois in Dita Amory and Ann Dumas. Vertigo of Color: Matisse, Derain, and the Origins of Fauvism. Exh. cat., The Metropolitan Museum of Art. New York, 2023, pp. 46–47, 179 n. 25, p. 184, colorpl. 61.
James Panero. "A Study in Contrasts." New Criterion 42 (December 2023), p. 15.
Karen Wilkin. "At the Galleries." Hudson Review 76 (Winter 2024), p. 706.
Henri Matisse (French, Le Cateau-Cambrésis 1869–1954 Nice)
1907
Resources for Research
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
The Met's engagement with art from 1890 to today includes the acquisition and exhibition of works in a range of media, spanning movements in modernism to contemporary practices from across the globe.
