Aside from a few initial drypoints in 1900-03 his first foray into printmaking was in 1906 when he sought out the venerable printer Auguste Clot. Clot was renowned for working with the painterly insights but novice printmaking skills of artists such as Pierre Bonnard, Paul Cézanne and Edouard Vuillard. With these artists Clot established lithography’s reputation as a medium well suited for the new painters emerging in the last decades of the nineteenth century. The result was a series of twelve lithographic nudes that ruffled feathers in Paris but positively scandalized New York when they were shown at the Alfred Stieglitz Gallery. The art critic of the New York Evening Mail wrote that the show included ‘some female figures that are of an ugliness that is most appalling and haunting, and that seem to condemn this man’s brain to the limbo of artistic degeneration.’ (Quoted in Susan Lambert, Matisse Lithographs, Universe Books, New York, 1982). These prints, apart from one, are either heads of women, or full figures drawn standing, seated or crouching. The poses are somewhat unflattering, even distorted, and remind one of his sculpture more than his painting. Drawn with an energetic line, at times jagged, at times fluid, they reflect the same untamed expressiveness of his paintings that shocked the public at the Salon d’Automne of 1905. They certainly showed little concern for the tastes of the marketplace, and the intention seems to have been to bring the viewer into the studio, to experience the artist at work in what he implies to be a single modelling session.