CURIOSITIES: "I do not distinguish between the construction of a book and that of a painting"- Henri Matisse, 1946
THROUGHOUT his prolific and celebrated life, French artist Henri Matisse found it beneficial to his creativity to occasionally involve himself in alternative forms of artistic expression. One such series of projects was the illustration of a select collection of works of great literature and poetry, known colloquially as "livre d'artiste".
The resulting deluxe, limited edition, collectors' pieces were intended to be admired as works of art as much as enjoyed as great works of literature, and they proved exceedingly popular during the mid-part of the 20th century. One of the most celebrated and successful of these collaborations resulted when George Macy, founder of the Limited Editions Club, commissioned Matisse to produce illustrations for James Joyce's Ulyssesin 1935.
This was a daring move, as the novel was still mired in controversy and had been subject to a ban in the United States that had been lifted as recently as 1933, just two years previously. On learning that Matisse had not in fact read the book, Macy immediately furnished him with a French translation, which the artist claimed to have read and understood completely by the very next day.
Joyce himself, although initially flattered by the involvement of this world-renowned artist in the embellishment of his beloved novel, disputed this lofty assertion. This scepticism was borne out to a large extent when the 26 stunning, full-page illustrations ultimately unveiled proved to be scenes lifted directly from Homer's Odyssey. Matisse had determined that since the 18 episodes of Ulyssesdirectly parodied similar episodes in the great Greek epic, he would bypass the modern novel entirely and revert directly to what he saw as the source material.
Perversely, the ensuing falling-out between artist and author ultimately increased the value of a small number of the books ultimately produced. The Limited Editions Club had originally intended to release a restricted run of just 1,500 copies of the work signed by both author and illustrator. However, though Matisse did indeed sign all 1,500 copies, Joyce, apparently increasingly frustrated by the suspicion that the great artist had not troubled himself to read his magnum opus, stopped after just 250 copies.
Thus, the remaining few versions signed by both are now exceedingly difficult to obtain and change hands for tens of thousands of euro. A rare original edition is on public view in the James Joyce Museum in Sandycove, Co Dublin.
Eleanor Fitzsimons