Henri Matisse's genius rivaled that of Picasso on every level. His natural ability bloomed forth in many media, but like Picasso he was at his best with drawing and with a few strokes was able to convey great volume. He first gained recognition as a leader of the Fauve movement c. 1905-06; about this same time, he created his first serious prints, a series of lithographs coinciding with his groundbreaking painting, Joie de vivre. Matisse selected lithography as his printmaking medium of choice because he felt it allowed greater facility for exploring his interest in line.

After W.W. I, Henri Matisse relocated from Paris to Nice where he would remain for the next decade. This important segment of the artist's career is often referred to as his Nice period. At this time, the imagery of his paintings and lithographs were dominated by the exotic theme of the odalisque, influenced by Ingres and 19th century neo-classicism. The paintings of Matisse's Nice period are prized for their lush color and rich detail. While the lithographs of this era were all created in black and white, they too depict the same type of subject, the odalisque, and are rendered in a sumptuous style showing a greater emphasis on tonal drawing than on line. La Persane (The Persian Woman), 1929, is a premier example of these works. Here, the model Lisette, invokes a classical face-on pose enveloped in a sensuous, mysterious atmosphere reminiscent of Leonardo da Vinci's Mona Lisa. Matisse's emphasis on material substance, complete with highlights and shadows, conveys a warmth that brings the Orient within reach; one hardly notices the absence of color. The artist's earlier experience with the nuances of lithography enabled him to exploit his palette intensely from the deepest black to dazzling white, enjoying the unique effects of printing on various papers.

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