А как она пишется латинскими буквами? Вы ее гуглить пытались?

The subject is attempted rape. There is no mistaking the intention of the thickset satyr with abnormally large hands lunging toward the limp naked nymph huddled at his feet with her back turned and her arms flung out in an arabesque of flight or supplication. Art historians have identified her as Matisse's Russian pupil Olga Meerson, largely on the evidence of her red hair (which struck me initially as odd, since no one has suggested that Meerson had red eyes, like the nymph in the picture, or that Matisse, who was also a redhead, had black hair, like his satyr). Given the personalities involved, and the circumstances under which this picture turned out to have been painted, I find it inconceivable that Meerson actually posed for Nymph and Satyr (which is not to say, of course, that she wasn't its virtual model). But something complicated is certainly going on here, something that shows what Matisse meant when he said that a painting or drawing, unlike a photograph, enables the artist to draw on emotions and insights over which he has no conscious control. "They synthesize and contain many things the painter himself could not initially have suspected," he wrote of his portraits.

http://www.nybooks.com/articles/18171

Curators Can Curate, But Writers Can Try, Too
By JUDITH H. DOBRZYNSKI
Published: March 29, 2006
http://www.nytimes.com/2006/03/29/arts/artsspecial/29dream.html?_r=1&oref=slogin&pagewanted=all

Вот часть статьи, в которой речь идёт о Меерсон:

HILARY SPURLING, now basking in the glow of success for both her Matisse exhibition and Matisse books, said that she has "a short list of shows I should like to put on." In a phone call from London, where she recently collected the Whitbread Book of the Year prize for her recent volume "Matisse the Master," she said, "The one I'd really like to do is for Matisse's best pupil, Olga Meerson."

Meerson, a Russian-born émigré to Munich, where she studied with Kandinsky, and then to Paris, where she met Matisse, committed suicide in 1929. "Art history," Ms. Spurling said, "has wiped her out completely."

"I told her story in the book, and now I'd like to do her justice as a painter," she continued.

Spurling's exhibition of Meerson's work would start with an enamel portrait, from 1901-02, that Meerson did of her sister-in-law, Katia Mann, Thomas Mann's wife.

The exhibition would include two portraits from 1911. One is of her, by Matisse, which is in the collection of the Museum of Fine Arts, Houston.

The other Meerson did of Matisse — his only known portrait, aside from photographs, Ms. Spurling said. In contrast to the photos, which show Matisse in a suit, looking very stuffy, "she painted him lying on a couch, relaxed as a cat," Ms. Spurling added. The painting, which graced the cover of her recent volume in Britain, belongs to Meerson's family.

Meerson's Fauve work was largely derided in her time. But the portrait of Matisse was preparatory for a lost canvas that was praised by Guillaume Apollinaire when it was shown in 1911. It is also one of a handful of Meerson works Ms. Spurling has seen.

But Meerson earned her living as a portrait painter, and Ms. Spurling believes many more exist, probably in Munich and Berlin. While many works of art were lost or obliterated in the war, Ms. Spurling said, she is hopeful about rediscovering Meerson's works. "I don't think you destroy portraits," Ms. Spurling said. "Several people have already come to me with works, and maybe you can help bring out more."

Но во всех поисках ее теснит американская андрей-платонововедша...

очень интересно. НО хотелось бы картиночку приложить :)

Я знаю, но сети ничего нет :-( . Если бы не книга Сперлинг - так и не вспомнили бы...