The justification page of the book, signed by Matisse lower left

Matisse started working on the Florilège project, in collaboration with the publisher Albert Skira in 1941, but it took 7 years for the work to be completed. The delay was due partly to the war and difficulties with the font types, but also to the enormous amount of time and attention that Matisse himself spent on the project, from the actual creation of the images down to all the minutiae of the printing of the lithographs.
Correspondence shows that for long periods, from 1941 onwards, Matisse was completely absorbed on the work on Ronsard. The book was finally printed and published in 1948. Mourlot printed the lithographs. The total edition was of 320 copies; each copy was numbered, and signed by Matisse on the justification page. Nowadays Florilège des Amours is universally considered as the most typical and important livre d’artiste by Matisse: of particular note is the tone of sepia used for the lithographs, unique to this series.
The sensuality of the female bodies and portraits is another unique feature of this series and this particular period in the artist’s life: this is in immediately apparent contrast with the earlier graphic work, much more angular and unwilling to please the eye, and the subsequent, more rarefied and austere representations in the Chapel at Aix and the mysterious aquatints of the final years of Matisse’s life.

1948: Matisse at Mourlot Freres in Paris checking the freshly printed proofs of  Florilège against the stones.

The full title of the work is Florilège des Amours par Ronsard, where florilège (a choice of flowers) is a very elegant way to say” anthology” and amours is an abbreviation of “love sonnets”. Ronsard, of course, was Pierre de Ronsard ((1524-1585), one of the greatest French poets, quite famous in his lifetime and immediately afterwards, somehow forgotten by the general public afterwards. So the book is actually a curated choice of Ronsard’s best sonnets, illustrated by Matisse. However, the inspiration for most of the images is only loosely connected with the Ronsard poems; Matisse writes, at an early stage, of his desire for doing, above all, “..some Matisse..” for the project, no doubt meaning that he intended to draw inspiration on his personal imagery rather than the poems. In the end, the series of lithograph came to represent a complete summary of Matisse’s journey.
All lithographs in the normal edition of this series (250 copies) are unsigned, the total edition was 320 copies. All our lithographs from this series come from the following copy: Florilège des Amours par Ronsard. Paris: Albert Skira, 1948. Copy number 161 of 320. As called for, the justification page is signed by Matisse and the publisher Skira.
The standard reference work for this series, as well as for all Matisse graphics published in books, is: Duthuit, Claude. Henri Matisse: catalogue raisonne’ des ouvrages illustres. Paris 1988. Florilege is catalogued there under number 25.
The only work in English with a description of Matisse’s Ronsard is: Bidwell, John. Graphic Passion: Matisse and the Book Arts. Univ. Park: Pennsylvania Univ. Press, 2015. Ronsard is analysed at no. 38, pp 192-197.

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