Woman on Rose Divan — Henri Matisse, 1921

Woman on Rose Divan, Henri Matisse

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Of

These are claims by the holder and by Wikidata, read 2026-09-04, and join nothing until an editor confirms them.

Holder's headings: Century of Progress, world's fairs, Chicago World's Fairs, furniture, interiors, women, reclining, textile pattern, floral patterns

Means

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Rights

Credit: Helen Birch Bartlett Memorial Collection. CC0.
Licence: CC0-1.0
Evidence: api.artic.edu artworks api: is_public_domain=true on artwork 27980 (read 2026-08-27)
Record: https://www.artic.edu/artworks/27980
IIIF: manifest

Also by Henri Matisse

4

The Serf, Henri Matisse — The SerfHenri Matisse1900–03, cast c. 1908The Art Institute of Chicago

Still Life with Geranium, Henri Matisse — Still Life with GeraniumHenri Matisse1906The Art Institute of Chicago

Apples, Henri Matisse — ApplesHenri Matisse1916The Art Institute of Chicago

Woman before an Aquarium, Henri Matisse — Woman before an AquariumHenri Matisse1921–23The Art Institute of Chicago

Within fifty years of 1921

2890

Illustration for a Story, José Guadalupe Posada — Illustration for a StoryJosé Guadalupe Posadan.d.The Art Institute of Chicago

The Rehearsal of the Ballet Onstage, Edgar Degas — The Rehearsal of the Ballet OnstageEdgar Degasca. 1874Metropolitan Museum of Art, New York, NY

Hector Giacomelli (French painter, illustrator, and printmaker, 1822-1904), Ferdinand J. Mulnier — Hector Giacomelli (French painter, illustrator, and printmaker, 1822-1904)Ferdinand J. Mulnierc. 1876The Art Institute of Chicago

Poster for a performance by Henri Huerta, Anonymous — Poster for a performance by Henri HuertaAnonymous1871Metropolitan Museum of Art, New York, NY

Sideboard, Edward William Godwin — SideboardEdward William GodwinDesigned 1867, made c. 1876The Art Institute of Chicago

The Races, Edgar Degas — The RacesEdgar Degas1871-1872National Gallery of Art

At Sea, - signalling a passing Steamer, Winslow Homer, American, 1836–1910 — At Sea, - signalling a passing SteamerWinslow Homer, American, 1836–19101871Cooper Hewitt, Smithsonian Design Museum

Bathing at Long Branch, "Oh, ain't it cold !", Winslow Homer, American, 1836–1910 — Bathing at Long Branch, "Oh, ain't it cold !"Winslow Homer, American, 1836–1910August 26, 1871Cooper Hewitt, Smithsonian Design Museum

Also at The Art Institute of Chicago

602

Statuette of a Female Figure, Ancient Greek — Statuette of a Female FigureAncient GreekEarly Bronze Age, 2600–2400 BCEThe Art Institute of Chicago

Ring with a Scarab Bezel, Ancient Egyptian — Ring with a Scarab BezelAncient EgyptianSecond Intermediate Period, Dynasty 15 (about 1650–1550 BCE)The Art Institute of Chicago

Fragment of a Stela of Neferhotep, Ancient Egyptian — Fragment of a Stela of NeferhotepAncient EgyptianNew Kingdom, mid-Dynasty 19, about 1240-1195 BCEThe Art Institute of Chicago

Funerary Papyrus of Tayuhenutmut, Ancient Egyptian — Funerary Papyrus of TayuhenutmutAncient EgyptianThird Intermediate Period, probably Dynasty 21 (about 1069-945 BCE)The Art Institute of Chicago

Cauldron, China — CauldronChinaWestern Zhou dynasty (1046–771 BC ), early 9th century BCThe Art Institute of Chicago

Coffin and Mummy of Paankhaenamun, Ancient Egyptian — Coffin and Mummy of PaankhaenamunAncient EgyptianThird Intermediate Period, Dynasty 22, reign of Osorkon I (about 924–889 BCE)The Art Institute of Chicago

Relief Showing the Head of a Winged Genius, Neo-Assyrian — Relief Showing the Head of a Winged GeniusNeo-AssyrianNeo–Assyrian Period, reign of King Ashurnasirpal II (883–859 BCE)The Art Institute of Chicago

Altar, Ancient Greek — AltarAncient GreekGeometric Period (800–600 BCE)The Art Institute of Chicago

In the stacks

Not yet checked1

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

Vision and Design · Roger Fry
Whether the difference between the nineteenth and twentieth centuries will in retrospect seem as great in life as they already do in art I cannot guess--at least it is curious to note how much more conscious we are of the change in art then we are in the general change in thought and feeling. NOTE.--The original lecture was not illustrated, but the opportunity of publishing this summary of it has suggested the possibility of introducing a few examples to illustrate one point, viz., the extent to which the works of
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Made in the twentieth century, like Woman on Rose Divan.

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