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Emily Brady

Teté

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About Emily

Growing up in Columbia I developed an early appreciation for the arts as I studied music and theater at Hammond School and made frequent trips to the Columbia Museum of Art. Upon graduating from Duke University, I returned to Columbia and became involved with the Museum's Contemporaries affiliate program for young professionals. I served on the Contemporaries' board for two terms, chairing major fundraisers and helping with the Museum's major acquisition of the Dale Chihuly chandelier.

I work in public affairs at SCANA and am very involved with community service. I currently serve on the boards of the Junior League of Columbia, Salvation Army of the Midlands, and Palmetto Health Foundation. I am an active member of the United Way's Young Leaders Society, SC Public Relations Society of America, Duke University, and Hammond School alumni associations.

My husband and I support the arts in Columbia because we understand the value of having a strong creative class to attract business and growth. We enjoy travel and have developed a fondness for impressionist art and particularly Matisse during our time spent in France.

About the Piece

  • Henri Matisse
  • Teté, n.d.
  • Lithograph, 35/50
  • Gift of Dr. Samuel Dunaif

Henri Matisse, one of the greatest painters of the twentieth century, was involved with printmaking for more than fifty years. From 1900 until his death in 1954, he completed more than eight hundred intaglios, lithographs, woodcuts, linoleum cuts, and monotypes. Matisse's Teté (meaning "Head" in English) is a lithograph, a type of original print made from drawing on stone ("litho" means "stone" and "graph" means "image").

The artist uses a set of greasy crayons to draw an image onto a smooth tablet, usually limestone. After the image has been drawn to the satisfaction of the artist, it is ready to be turned into a lithograph. The lithographic process hinges on the principle that oil and water cannot mix. An oil-based variety of ink is applied directly to the stone tablet and immediately bonds with the equally greasy crayon lines. Water is then wiped onto the remaining unpainted areas to discourage the ink from smearing. A sheet of paper, preferably one with high cotton content, is then placed over the entire plate. The inked stone and the paper are placed in a press and pressure is used to transfer the ink. And voilà-a lithograph. This process can become very complex in the hands of master printers, especially when many colors are used.

Matisse made lithographs as an extension of his drawing. In Teté, we see how he uses line minimally and with simplicity, keeping the emphasis on the flow of graceful lines that combine to form an elegant face, one that feels immediate and yet intimate. Matisse often made portraits of friends, family, and fellow artists, in addition to the images he made of female figures and nudes, including a great number of odalisques made after a trip to North Africa.