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The Moroccan Triptych

Creation period
1912
Dimensions
115,5х80, 116х100, 116,5х80
Technique
oil on canvas
17
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#5
Henry Matisse
Zorah on the Terrace (The Moroccan Triptych)
#6
Henry Matisse. “Landscape Viewed from a Window. Tangier” (“The Moroccan Triptych”)
#4
Henry Matisse. “The Casbah Gate” (“The Moroccan Triptych ‘)
#2
A journey to Morocco in 1912–1913 helped the artist unlock new potential in his color palette research. Later, Matisse confessed that his exploration of the Arabic East made him reject fauvism and establish new relations with nature. The Moroccan Triptych was painted in this period. It consists of the art works ‘Landscape Viewed from a Window. Tangier, " “Zorah on the Terrace, " and “The Casbah Gate”. Unlike his early paintings, where his interest in Oriental art showed in fancy shapes borrowed from Arabic applied art, in this triptych Matisse makes an attempt to render the atmosphere of the contemplative, languid, almost dreamlike daily life in the Arabic world. The triptych can be interpreted as a generalized, philosophical image of the Arabic East and also as a metaphor of day: “morning, " “afternoon, " and “night.” Blue is used as an integrating color in each part of the triptych differently. In the Landscape Viewed from a Window. Tangier, the downtown of an old Arabic town is shown with the Anglican St. Paul’s Cathedral. Matisse renders the southern morning sky in blue and uses the same for the deep shadows cast by trees and the coolness of the interior. The blue color penetrates all of the details, making the main motif more poetic and showing the spicy atmosphere of the East.
The middle part of the triptych, Zorah on the Terrace, is dominated by the emerald-blue that transforms this piece into a fantastic mirage. Zorah, a Moroccan woman sitting on a carpet, seems to be floating in a surreal flickering environment. The emerald-blue mirage absorbs even the lines. The joints between the floor and walls disappear, which makes the whole interior look like a miraculous projection. The feeling of delightful comfort and serenity prevails in the painting’s atmosphere, and the real and the surreal flow together; perhaps this is why the babouches standing to the side look like a pair of fish in a bowl.
#7
In the left side of the triptych, The Casbah Gate, the blue color defines the heavy shadow covering the foreground. The Arab sitting at the gate is not immediately noticeable as he blends into the deep blue, appearing like a specter, which intensifies the feeling of the African scorching heat and the drowsy emptiness of Tangier.
#8
Matisse’s archive contains a postcard with the Tangier gates of Bab El Assa, from which he painted the gate. However, he does not care too much about documentary details, instead sacrificing everything for the dominance of the blue color, which makes the triptych a consistent suite.
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The Moroccan Triptych

Creation period
1912
Dimensions
115,5х80, 116х100, 116,5х80
Technique
oil on canvas
17
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To see AR mode in action:
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  2. iOS or Android;
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  4. Push the «Augmented reality» button and point your phone's camera at the painting;
  5. Watch what happens on your phone screen whilst you flip through the pictures.
 
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