Matisse and the Girl with Tulips

Matisse and the Girl with Tulips
They're pink tulips...

1
Girl with Tulips
Henri Matisse (1869-1954)) French
Oil on canvas, 29" x 36" (w x h), 1910
Hermitage, St. Petersburg, Russia

Source State Hermitage Museum, Saint Petersburg, Russia notes edited:
The interaction between the flowers and the human figure forms the central theme. The strong stems of the tulips forcing themselves upwards in an expression of the coming spring, the thick green color of the sharp leaves, everything carries within it the energy of growth. Nature and human together form a harmonious whole.
        Jeanne Vaderin, the model for this painting, was in convalescence at Issey-les-Moulineaux, where Matisse rented a house in 1910. Matisse and his wife affectionately called her Jeannette. In this painting there is something gentle and melancholy, something fragile and refined in the face and slightly asymmetrical figure of Jeanette. "My models, the figures of people, are never static elements in an interior. They are the main theme of my work," wrote Matisse in 1908, two years previous to this painting. Jeannette was also his model for a number of other works, including a series of bronze heads.

2
Girl with Tulips
Henri Matisse (1869-1954)) French
Charcoal on paper, 23" x 29" (w x h), 1910
MOMA, Museum of Modern Art, New York, New York

3
Jeannette (I) - frontal
Henri Matisse (1869-1954) French
Bronze, 13" x 9" x 10"
1910 winter to spring at Issy-les-Moulineaux

4
Jeannette (I) - profile
Henri Matisse (1869-1954)) French
Bronze, 13" x 9" x 10"
1910 winter to spring at Issy-les-Moulineaux

Source" MOMA notes edited:
In the process of creating five busts of Jeanne Vaderin, affectionately known to Matisse and his wife as Jeannette, between 1910 and 1916, Matisse radically reconfigured traditional representation of the human face. Jeannette I and II were created directly from the model, which is evident in their characteristic, hawk-like profiles.
        These two works then served as templates for Jeannette III, IV, and V. As he progressed with the series, Matisse dramatically abstracted his subject, organizing the head into increasingly simplified chunks. In 1908 he'd explained that his goal in portraiture was not to achieve visual precision but rather to reveal the "essential qualities" of his sitters, qualities, he felt, that physical imitation could not capture.

5
Jeannette (IV) -profile
Henri Matisse (1869-1954)) French
Bronze, 24" x 11" x 11"
September 1910 or February to
mid-July 1911 at Issy-les-Moulineaux