Monday, October 6, 2025

A00147 - Henri Matisse, The Greatest French Painter of the Twentieth Century

 Matisse, Henri

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Henri Matisse
Matisse in 1913
Born
Henri Émile Benoît Matisse

31 December 1869
Le Cateau-Cambrésis, France
Died3 November 1954 (aged 84)
Nice, France
EducationAcadémie Julian, William-Adolphe Bouguereau, Gustave Moreau
Known for
Notable workWoman with a Hat (1905)
The Joy of Life (1906)
Nu bleu (1907)
La Danse (1909)
L'Atelier Rouge (1911)
The Snail (1953)
MovementFauvism, Modernism, Post-Impressionism
Spouse
Amélie Noellie Parayre
​
​
(m. 1898; div. 1939)​
Children3, including Pierre
PatronsSergei Shchukin, Gertrude Stein, Etta Cone, Claribel Cone, Sarah Stein, Albert C. Barnes
Signature

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Henri Matisse (born December 31, 1869, Le Cateau, Picardy, France—died November 3, 1954, Nice) was an artist often regarded as the most important French painter of the 20th century. He was the leader of the Fauvist movement about 1900, and he pursued the expressiveness of color throughout his career. His subjects were largely domestic or figurative, and a distinct Mediterranean verve presides in the treatment.

Formative years

Matisse, whose parents were in the grain business, was born in his grandparents’ home in Le Cateau in northeastern France. He grew up in neighboring Bohain-en-Vermandois, displaying little interest in art. From 1882 to 1887 he attended the secondary school in nearby Saint-Quentinand then spent two years of legal studies in Paris. In 1889 he returned to Saint-Quentin and became a clerk in a law office. He started to sit in on an early-morning drawing class at the local École Quentin-Latour, and, in 1890, while recovering in Bohain from a severe attack of appendicitis, he began to paint. At first he was copying the colored reproductions in a box of oil paints his mother had given him, but soon he was decorating the home of his grandparents. In 1891 he abandoned the law and returned to Paris to become a professional artist.

In order to prepare himself for the entrance examination at the official École des Beaux-Arts, Matisse enrolled in the privately run Académie Julian, where the master was the strictly academic William-Adolphe Bouguereau. That Matisse should have begun his studies in such a conservative school may seem surprising, and he once explained the fact by saying that he was acting on the recommendation of a Saint-Quentin painter, whose subjects often comprised hens and poultry yards. But it must be remembered that he was for the moment from a provincial area with tastes that were old-fashioned in, Paris, a city already familiar with the Post-Impressionism of Paul Cézanne, Paul Gauguin, and Vincent van Gogh. Matisse’s earliest canvases are in the 17th-century Dutch manner favored by the French Realists of the 1850s.

In 1892 Matisse left the Académie Julian for evening classes at the École des Arts Décoratifs and for the atelier of the Symbolist painter Gustave Moreau at the École des Beaux-Arts, without being required to take the entrance examination. Moreau, a tolerant teacher, did not try to impose his own style on his pupils but rather encouraged them to develop their personalities and to learn from the treasures in the Louvre. Matisse continued, with some long interruptions, to study in the atelier until 1899. That year he was forced to leave by Fernand Cormon, an intolerant painter who had become the professor after Moreau’s death in 1898. After that, although he was nearing 30, Matisse frequented for a time a private academy where intermittent instruction was given by the portraitist Eugène Carrière.

In 1896 Matisse exhibited four paintings at the Salon de la Société Nationale des Beaux-Arts and scored a triumph. He was elected an associate member of the Salon society, and his The Reader (1895) was purchased by the government. From this point onward he became increasingly confident and venturesome. During the next two years he undertook expeditions to Brittany, met the veteran Impressionist Camille Pissarro, and discovered the series of Impressionist masterpieces in Gustave Caillebotte’s contemporary art collection, which had just been donated—amid protests from conservatives—to the French nation. Matisse’s colors became, for a while, lighter in hue and at the same time more intense. In 1897 he took his first major step toward stylistic liberation and created a minor scandal at the Salon with The Dinner Table, in which he combined Pierre-Auguste Renoir’s luminosity with a firmly classical composition in deep red and green.

In 1898 Matisse married Amélie Parayre, a young woman from Toulouse, and left Paris for a year, visiting London, where he studied the paintings of J.M.W. Turner, and working in Corsica, where he received a lasting impression of Mediterranean sunlight and color.

Revolutionary years of Henri Matisse

During 1898 Paul Signac, the theoretician and spokesperson of Neo-Impressionism after the death of its founder, Georges Seurat, in 1891, published in the literary review La Revue Blanche his principal manifesto, “D’Eugène Delacroix au Néo-Impressionnisme.” Matisse, back in Paris in 1899, read the articles and, without turning into an immediate convert, became interested in the pointillist idea of obtaining additive mixtures of color on the retina by means of juxtaposed dots (points in French) on the canvas. He furthered his research into new techniques by buying artworks from the well-known modernist dealer Ambroise Vollard. The pieces includedThe Three Bathers, a painting by Cézanne ; Boy’s Head, a painting by Gauguin; and a drawing by van Gogh. Often accompanied by his close friend Albert Marquet, who was also interested in the problem of pure color, Matisse began to paint outdoor scenes in the Luxembourg Gardens in Paris, in suburban Arcueil, and from the open window of his apartment overlooking the Seine.

Matisse also purchased from Vollard the plaster model of the bust of Henri Rochefort by Auguste Rodin, and during 1899 he began to attend an evening class in sculpture. His early work in three dimensions, the first of some 60 pieces he executed during his lifetime, reveals the influence not only of Rodin but also of Antoine-Louis Barye, generally considered the greatest French sculptor of animals.

After 1899 Matisse ceased to exhibit at the Salon and gradually became a familiar figure in the Parisian circles where modern art was being produced and ardently discussed. In 1901 he showed for the first time in the juryless, eclectic Salon des Indépendants, which had been founded in 1884 as a refuge for painters whose work was regarded as unacceptable by the official exhibition juries. In 1902 Matisse was in a group show at the small gallery of Berthe Weill, and the next year he and a number of his old classmates from Moreau’s atelier and the Académie Carrière were the progressive contingent in the liberal, newly created Salon d’Automne. But in spite of such recognition, he was often on the brink of financial disaster. In 1900 he was obliged to accept work on the decoration of the Grand Palais, which was being erected to house part of the new Exposition Universelle in the Champs-Élysées quarter. His wife opened a dress shop in the hope of helping to make ends meet. In 1901 an attack of bronchitis forced him to take a long rest. During part of 1902 he had to return to Bohain with his three children—Marguerite, Jean, and Pierre—and Madame Matisse. He was past 34 when, in June 1904, at Vollard’s gallery, he had his first one-man show, and it was a failure.

Matisse spent the summer of 1905 with André Derain at Collioure, a small French fishing port on the Mediterranean, near the Spanish border. In the dazzling sunshine he rapidly freed himself from what he called “the tyranny” of pointillism. The carefully placed little dabs required by the additive-mixture approach turned into swirls and slabs of spontaneous brushwork, and the theoretically realistic colors exploded into an emotional display of complementaries: red against green, orange against blue, and yellow against violet. Representative of this new freedom were Open Window, Collioure, which was finished at Collioure, and Woman with Hat, a portrait of his wife painted back in Paris in September. That fall the two pictures were exhibited at the Salon d’Automne alongside works by a number of artists who also had been experimenting with intense color. The Paris critic Louis Vauxcelles called the group les fauves (“the wild beasts”), and thus Fauvism, the first of the important “isms” in 20th-century painting, was born. Almost immediately Matisse became its acknowledged leader.

Almost immediately, too, his financial situation altered for the better. The Stein family in Paris—Gertrude, her brothers Leo and Michael, and the latter’s wife, Sarah—became Matisse collectors. In 1906 the artist had a show at the Galerie Druet in Paris in addition to exhibiting again at the Salons des Indépendants and d’Automne. In 1907 a group of admirers, who included Sarah Stein and Hans Purrmann, organized for him a Left Bank art school, in which he taught off and on until 1911. In 1908 he exhibited in New York City, Moscow, and Berlin.

Henri Matisse: Le Luxe II
Henri Matisse: Le Luxe IILe Luxe II, distemper on canvas by Henri Matisse, 1907–08; in the Statens Museum for Kunst, Copenhagen.

Fauvism was too undisciplined to last long, and soon its adherents were moving, according to their temperaments, toward Expressionism, Cubism, or some kind of neo-traditionalism. Matisse had no liking for these directions, and if “Fauve” is taken to mean simply a painter with a passion for pure color, he can be said to have remained one all his life. He had, however, too much rationalism in his outlook not to wish for some order in a stylistic situation that threatened to become chaotic, and his search for chromatic equilibrium and linear economy can be followed in a series of major works produced between the revelation of Fauvism in 1905 and the end of World War I. In 1906 he painted Joy of Life; in 1908, Red Room (Harmony in Red); in 1911, The Red Studio; in 1915, Goldfish; in 1916, Piano Lesson; and in 1918, Montalban, Large Landscape.

In such works, the list of which should be much longer, the main characteristics of Matisse’s mature painting style recur constantly. The forms tend to be outlined in flowing, heavy contours and to have few interior details; the color is laid on in large, thin, luminous, carefully calculated patches; shadows are practically eliminated; and the depicted space is either extremely shallow or warped into a flatness that parallels the plane of the canvas and defies academic rules for perspective and foreshortening. The total effect, although too intense and freehand to be merely decorative, may recall the patterns of the rugs, textiles, and ceramics. The choice and treatment of subject matter imply optimism, hedonism, intelligence, a fastidious sensuality, and, in spite of the many studies of both clothed and unclothed women, scarcely a trace of conventional sentiment.

Riviera years of Henri Matisse

Henri Matisse: Tea
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Henri Matisse: TeaTea, oil on canvas by Henri Matisse, 1919; in the Los Angeles County Museum of Art. 140.34 × 211.3 cm.
Art exhibition at the Armory Show
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Art exhibition at the Armory ShowArmory Show (International Exhibition of Modern Art) held in 1913 at the Sixty-ninth Regiment Armory in New York City.
Learn how curators and scientists worked together to colorize a black-and-white photograph of Henri Matisse's “Bathers by a River” taken in 1913
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Learn how curators and scientists worked together to colorize a black-and-white photograph of Henri Matisse's “Bathers by a River” taken in 1913Curators and scientists collaborating to colorize a black-and-white photograph, taken in 1913, that shows an unfinished version of Henri Matisse's Bathers by a River.
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In 1912 Matisse’s sculpture was on view in New York City and his painting in both Cologne and London. In 1913 he was represented by 13 pictures in the much-discussed, much-lambasted New York Armory Show, and, when the exhibition arrived in Chicago, he was given some useful publicity by the burning—happily, merely in effigy—of his Blue Nude (1907). But middle age, growing affluence, an established international reputation, the disruptions of World War I, and a distaste for public commotion gradually combined to isolate him from the centers of avant-gardism. He began to winter on the French Riviera, and by the early 1920s he was mostly a resident of Nice or its environs. His pictures became less daring in conception and less economical in means. Like many of the painters and composers during these years (notably Pablo Picasso and Igor Stravinsky), Matisse relaxed into a modernized sort of classicism. Such typically Nice-period works as the Odalisque with Magnolias (1923–24) and Decorative Figure on an Ornamental Background (1925–26), however, are masterpieces that deserve their popularity.

Henri Matisse: Decorative Figure on an Ornamental Background
Henri Matisse: Decorative Figure on an Ornamental BackgroundDecorative Figure on an Ornamental Background, oil painting by Henri Matisse, 1925–26; in the National Museum of Modern Art, Paris.

Prosperity did not make Matisse less industrious. In 1920 he did the sets and costumes for Serge Diaghilev’s production of the ballet Le Chant du Rossignol. He returned to sculpture, which he had neglected for several years, and by 1930 he had completed his fourth and most nearly abstract version of The Back, a monumental female nude in relief, on which he had been working at intervals since 1909. He relaxed, as he had always done, by traveling: to Étretat, on the coast of Normandy, in 1921; to Italy in 1925; and to Tahiti, by way of New York City and San Francisco, in 1930. During 1933 he visited Venice and Padua, and in Merion, Pennsylvania, he completed and installed the final version of his large mural The Dance II, which was commissioned by Albert C. Barnes for the Barnes Foundation.

Henri Matisse
Henri MatisseFrench artist Henri Matisse, photograph by Carl Van Vechten.

Matisse had been interested in etching, drypoint, lithography, and allied printmaking techniques since his first years in Paris and had produced a number of occasional prints. In 1932 he had published, as illustrations for an edition of Stéphane Mallarmé’s Poésies, 29 etchings, in which his talent for supple contours and linear economy was subtly attuned to the “purity of means” evident in the poems. After the outbreak of World War II, he became increasingly active as a graphic artist, notably with his illustrations for Henry de Montherlant’s Pasiphaé (published in 1944), Pierre Reverdy’s Visages (1946), the Lettres portugaises (1946), Charles Baudelaire’s Fleurs du mal (1947), Pierre de Ronsard’s Florilège des Amours (1948), and Charles d’Orléans’ Poèmes (1950). Along with these books in mostly black and white techniques, he published Jazz (1947), a book consisting of his own reflections on art and life, with brilliantly colored illustrations made by a technique he called “drawing with scissors”: the motifs were pasted together after being cut out of sheets of colored paper (hand-painted with gouache in order to get the desired hue).

During the last years of his life, he was a rather solitary man who was separated from his wife and whose grown-up children were scattered. After 1941, when he underwent an operation for an intestinal tumor, he was bedridden much of the time. After 1950 he suffered from asthma and heart trouble. Cared for by a faithful Russian woman who had been one of his models in the early 1930s, he lived in a large studio in the Old Hôtel Regina at Cimiez, overlooking Nice. Often he was obliged to work on his mural-sized projects from a studio bed with the aid of a crayon attached to a long pole. But there are no signs of flagging creative energy or of sadness in his final achievements. On the contrary, these works are among the most daring, most accomplished, and most serenely optimistic of his entire career.

At Vence, a Riviera hill town where Matisse had a villa from 1943 to 1948, he completed in 1951, after three years of planning and execution, his Chapelle du Rosaire for the local Dominican nuns, one of whom had nursed him during his nearly fatal illness in 1941. He had begun by agreeing to design some stained-glass windows, had gone on to do murals, and had wound up by designing nearly everything inside and outside, including vestments and liturgical objects. Before the chapel was finished, he was at work on the huge colored-paper cutouts—amplifications of what he had done in the illustrations for Jazz—that made him in many respects the “youngest” and most revolutionary artist of the early 1950s. He died in 1954.

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Henri Émile Benoît Matisse (French: [ɑ̃ʁi emil bənwa matis]; 31 December 1869 – 3 November 1954) was a French visual artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter.[1]

Matisse is commonly regarded, along with Pablo Picasso, as one of the artists who best helped to define the revolutionary developments in the visual arts throughout the opening decades of the twentieth century, responsible for significant developments in painting and sculpture.[2][3][4][5]

The intense colourism of the works he painted between 1900 and 1905 brought him notoriety as one of the Fauves (French for "wild beasts"). Many of his finest works were created in the decade or so after 1906, when he developed a rigorous style that emphasized flattened forms and decorative pattern. In 1917, he relocated to a suburb of Nice on the French Riviera, and the more relaxed style of his work during the 1920s gained him critical acclaim as an upholder of the classical tradition in French painting.[6] After 1930, he adopted a bolder simplification of form. When ill health in his final years prevented him from painting, he created an important body of work in the medium of cut paper collage.

His mastery of the expressive language of colour and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art.[7]

Early life and education

Woman Reading (La Liseuse), 1895, oil on board, 61.5 x 48 cm, Le Cateau-Cambrésis, Musée Matisse

Matisse was born in Le Cateau-Cambrésis, in the Nord department in Northern France on New Year's Eve in 1869, the oldest son of a wealthy grain merchant.[8] He grew up in Bohain-en-Vermandois, Picardie. In 1887, he went to Paris to study law, working as a court administrator in Le Cateau-Cambrésis after gaining his qualification. He first started to paint in 1889, after his mother brought him art supplies during a period of convalescence following an attack of appendicitis. He discovered "a kind of paradise" as he later described it,[9] and decided to become an artist, deeply disappointing his father.[10][11]

In 1891, he returned to Paris to study art at the Académie Julian under William-Adolphe Bouguereau and at the École Nationale des Beaux-Arts under Gustave Moreau. Initially he painted still lifes and landscapes in a traditional style, at which he achieved reasonable proficiency. Matisse was influenced by the works of earlier masters such as Jean-Baptiste-Siméon Chardin, Nicolas Poussin, and Antoine Watteau, as well as by modern artists, such as Édouard Manet, and by Japanese art. Chardin was one of the painters Matisse most admired; as an art student he made copies of four of Chardin's paintings in the Louvre.[12]

In 1896, Matisse, an unknown art student at the time, visited the Australian painter John Russell on the island of Belle Île off the coast of Brittany.[13][14] Russell introduced him to Impressionism and to the work of Vincent van Gogh—who had been a friend of Russell—and gave him a Van Gogh drawing. Matisse's style changed completely: abandoning his earth-coloured palette for bright colours. He later said Russell was his teacher, and that Russell had explained colour theory to him.[11] The same year, Matisse exhibited five paintings in the salon of the Société Nationale des Beaux-Arts, two of which were purchased by the state.[15][14][16]

Two greyscale photos where each photo is in the shape of an oval: Henri Matisse (left) and Amélie Matisse (right)
Henri and Amélie Matisse, 1898

With the model Caroline Joblau, he had a daughter, Marguerite, born in 1894. In 1898, he married Amélie Noellie Parayre; the two raised Marguerite together and had two sons, Jean (born 1899) and Pierre (born 1900). Marguerite and Amélie often served as models for Matisse.[17]

In 1898, on the advice of Camille Pissarro, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica.[18] Upon his return to Paris in February 1899, he worked beside Albert Marquet and met André Derain, Jean Puy,[19] and Jules Flandrin.[citation needed] Matisse immersed himself in the work of others and went into debt from buying work from painters he admired. The work he hung and displayed in his home included a plaster bust by Rodin, a painting by Gauguin, a drawing by Van Gogh, and Cézanne's Three Bathers. In Cézanne's sense of pictorial structure and colour, Matisse found his main inspiration.[19]

Many of Matisse's paintings from 1898 to 1901 make use of a Divisionist technique he adopted after reading Paul Signac's essay, "D'Eugène Delacroix au Néo-impressionisme".[18]

In May 1902, Amélie's parents became ensnared in a major financial scandal, the Humbert Affair. Her mother (who was the Humbert family's housekeeper) and father became scapegoats in the scandal, and her family was menaced by angry mobs of fraud victims.[20] According to art historian Hilary Spurling, "their public exposure, followed by the arrest of his father-in-law, left Matisse as the sole breadwinner for an extended family of seven".[20] During 1902 to 1903, Matisse adopted a style of painting that was comparatively somber and concerned with form, a change possibly intended to produce saleable works during this time of material hardship.[20] Having made his first attempt at sculpture, a copy after Antoine-Louis Barye, in 1899, he devoted much of his energy to working in clay, completing The Slave in 1903.[21]

Fauvism

Main article: Fauvism
Woman with a Hat, 1905. San Francisco Museum of Modern Art

Fauvism as a style began around 1900 and continued beyond 1910. The movement as such lasted only a few years, 1904–1908, and had three exhibitions.[22][23] The leaders of the movement were Matisse and André Derain.[22] Matisse's first solo exhibition was at Ambroise Vollard's gallery in 1904,[19] without much success. His fondness for bright and expressive colour became more pronounced after he spent the summer of 1904 painting in St. Tropez with the neo-Impressionists Signac and Henri-Edmond Cross.[18] In that year, he painted the most important of his works in the neo-Impressionist style, Luxe, Calme et Volupté.[18] In 1905, he travelled southwards again to work with André Derain at Collioure. His paintings of this period are characterised by flat shapes and controlled lines, using pointillism in a less rigorous way than before.

Matisse and a group of artists now known as "Fauves" exhibited together in a room at the Salon d'Automne in 1905. The paintings expressed emotion with wild, often dissonant colours, without regard for the subject's natural colours. Matisse showed The Open Window and Woman with a Hat at the Salon. Critic Louis Vauxcelles commented on a lone sculpture surrounded by an "orgy of pure tones" as "Donatello chez les fauves" (Donatello among the wild beasts),[24] referring to a Renaissance-type sculpture that shared the room with them.[25] His comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and passed into popular usage.[22][25] The exhibition garnered harsh criticism—"A pot of paint has been flung in the face of the public", said the critic Camille Mauclair—but also some favourable attention.[25] When the painting that was singled out for special condemnation, Matisse's, Woman with the Hat, was bought by Gertrude and Leo Stein, the embattled artist's morale improved considerably.[25]

Les toits de Collioure, 1905, oil on canvas, The Hermitage, St. Petersburg, Russia

Matisse was recognised as a leader of the Fauves, along with André Derain; the two were friendly rivals, each with his own followers. Other members were Georges Braque, Raoul Dufy, and Maurice de Vlaminck. The Symbolist painter Gustave Moreau (1826–1898) was the movement's inspirational teacher. As a professor at the École des Beaux-Arts in Paris, he pushed his students to think outside of the lines of formality and to follow their visions.

In 1907, Guillaume Apollinaire, commenting about Matisse in an article published in La Falange, wrote, "We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable."[26] But Matisse's work of the time also encountered vehement criticism, and it was difficult for him to provide for his family.[11] His painting Nu bleu (1907) was burned in effigy at the Armory Show in Chicago in 1913.[27]

The decline of the Fauvist movement after 1906 did not affect the career of Matisse; many of his finest works were created between 1906 and 1917, when he was an active part of the great gathering of artistic talent in Montparnasse, even though he did not quite fit in, with his conservative appearance and strict bourgeois work habits. He continued to absorb new influences. He travelled to Algeria in 1906 studying African art and Primitivism. After viewing a large exhibition of Islamic art in Munich in 1910, he spent two months in Spain studying Moorish art. He visited Morocco in 1912 and again in 1913 and while painting in Tangier he made several changes to his work, including his use of black as a colour.[28][29][30] The effect on Matisse's art was a new boldness in the use of intense, unmodulated colour, as in L'Atelier Rouge (1911).[18]

Matisse had a long association with the Russian art collector Sergei Shchukin. He created one of his major works La Danse specially for Shchukin as part of a two painting commission, the other painting being Music (1910). An earlier version of La Danse (1909) is in the collection of The Museum of Modern Art in New York City.

Selected works (1901–1910)

Sculpture

  • Le Serf (The Serf, Der Sklave), 1900–1904, bronze
    Le Serf (The Serf, Der Sklave), 1900–1904, bronze
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  • Sleep, 1905, wood, exhibition Blue Rose (Голубая Роза), 1907, location unknown
    Sleep, 1905, wood, exhibition Blue Rose (Голубая Роза), 1907, location unknown
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  • Nu couché, I (Reclining Nude, I), 1906–07, bronze, exhibited at Montross Gallery, New York, 1915
    Nu couché, I (Reclining Nude, I), 1906–07, bronze, exhibited at Montross Gallery, New York, 1915
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  • Figure décorative, 1908, bronze
    Figure décorative, 1908, bronze
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  • The Back Series, bronze, left to right: The Back I, 1908–09, The Back II, 1913, The Back III 1916, The Back IV, c. 1931, all Museum of Modern Art, New York City
    The Back Series, bronze, left to right: The Back I, 1908–09, The Back II, 1913, The Back III 1916, The Back IV, c. 1931, all Museum of Modern Art, New York City

Gertrude Stein, Académie Matisse, and the Cone sisters

Henri Matisse, 1933, by Carl Van Vechten

Around April 1906, Matisse met Pablo Picasso, who was 11 years his junior.[11] The two became lifelong friends as well as rivals and are often compared. One key difference between them is that Matisse drew and painted from nature, while Picasso was more inclined to work from imagination. The subjects painted most frequently by both artists were women and still lifes, with Matisse more likely to place his figures in fully realised interiors. Matisse and Picasso were first brought together at the Paris salon of Gertrude Stein with her partner Alice B. Toklas. During the first decade of the twentieth century, the Americans in Paris—Gertrude Stein, her brothers Leo Stein, Michael Stein, and Michael's wife Sarah—were important collectors and supporters of Matisse's paintings. In addition, Gertrude Stein's two American friends from Baltimore, the Cone sisters Claribel and Etta, became major patrons of Matisse and Picasso, collecting hundreds of their paintings and drawings. The Cone collection is now exhibited in the Baltimore Museum of Art.[33]

Henri Matisse, The Moroccans, 1915–16, oil on canvas, 181.3 x 279.4 cm, Museum of Modern Art[28]

While numerous artists visited the Stein salon, many of these artists were not represented among the paintings on the walls at 27 rue de Fleurus. Where the works of Renoir, Cézanne, Matisse, and Picasso dominated Leo and Gertrude Stein's collection, Sarah Stein's collection particularly emphasised Matisse.[34]

Contemporaries of Leo and Gertrude Stein, Matisse and Picasso became part of their social circle and routinely joined the gatherings that took place on Saturday evenings at 27 rue de Fleurus. Gertrude attributed the beginnings of the Saturday evening salons to Matisse, remarking, "More and more frequently, people began visiting to see the Matisse paintings [...] Matisse brought people, everybody brought somebody, and they came at any time and it began to be a nuisance".[35]

Among Pablo Picasso's acquaintances who also frequented the Saturday evenings were Fernande Olivier (Picasso's mistress), Georges Braque, André Derain, the poets Max Jacob and Guillaume Apollinaire, Marie Laurencin (Apollinaire's mistress and an artist in her own right), and Henri Rousseau.[36]

His friends organized and financed the Académie Matisse in Paris, a private and non-commercial school in which Matisse instructed young artists. It operated from 1907 until 1911. The initiative for the academy came from the Steins and the Dômiers, with the involvement of Hans Purrmann, Patrick Henry Bruce, and Sarah Stein.[37]

Matisse spent seven months in Morocco from 1912 to 1913, producing about 24 paintings and numerous drawings. His frequent orientalist topics of later paintings, such as odalisques, can be traced to this period.[38] Goldfish in aquariums also became a frequently recurring theme in Matisse's art following his trip to Morocco.[39][40]

Selected works (1910–1917)

After Paris

Self-portrait, 1918, Matisse Museum (Le Cateau)
Matisse with Léonide Massine preparing Le chant du rossignol. The ballet debut occurred on 2 February 1920 at the Théâtre National de l'Opéra in Paris. Massine did the choreography and Matisse the sets, costumes and curtain designs.[41]
Le Chant du Rossignol, Tamara Karsavina with dancers. Costume designs by Matisse, 1920
Odalisque, 1920–21, oil on canvas, 61.4 x 74.4 cm, Stedelijk Museum

In 1917, Matisse relocated to Cimiez on the French Riviera, a suburb of the city of Nice. His work of the decade or so following this relocation shows a relaxation and softening of his approach. This "return to order" is characteristic of much post-World War I art, and can be compared with the neoclassicism of Picasso and Stravinsky as well as the return to traditionalism of Derain.[42] Matisse's orientalist odalisque paintings are characteristic of the period; while this work was popular, some contemporary critics found it shallow and decorative.[43]

In the late 1920s, Matisse once again engaged in active collaborations with other artists. He worked with not only Frenchmen, Dutch, Germans, and Spaniards, but also a few Americans and recent American immigrants.

After 1930, a new vigor and bolder simplification appeared in his work. American art collector Albert C. Barnes convinced Matisse to produce a large mural for the Barnes Foundation, The Dance II, which was completed in 1932; the Foundation owns several dozen other Matisse paintings. This move toward simplification and a foreshadowing of the cut-out technique is also evident in his painting Large Reclining Nude (1935). Matisse worked on this painting for several months and documented the progress with a series of 22 photographs, which he sent to Etta Cone.[44]

World War II years

Matisse's wife Amélie, who suspected that he was having an affair with her young Russian emigrée companion, Lydia Delectorskaya, ended their 41-year marriage in July 1939, dividing their possessions equally between them. Delectorskaya attempted suicide by shooting herself in the chest; remarkably, she survived with no serious after-effects, and returned to Matisse and worked with him for the rest of his life, running his household, paying the bills, typing his correspondence, keeping meticulous records, assisting in the studio, and coordinating his business affairs.[45]

Matisse was visiting Paris when the Nazis invaded France in June 1940, but managed to make his way back to Nice. His son, Pierre, by then a gallery owner in New York, begged him to flee while he could. Matisse was about to depart for Brazil to escape the occupation of France but changed his mind and remained in Nice, in Vichy France. In September 1940, he wrote Pierre: "It seemed to me as if I would be deserting. If everyone who has any value leaves France, what remains of France?" Although he was never a member of the resistance, it became a point of pride to the occupied French that one of their most acclaimed artists chose to stay.[46]

While the Nazis occupied France from 1940 to 1944, they were more lenient in their attacks on "degenerate art" in Paris than they were in the German-speaking nations under their military dictatorship. Matisse was allowed to exhibit, along with other former Fauves and Cubists whom Hitler had initially claimed to despise, although without any Jewish artists, all of whose works had been purged from all French museums and galleries; any French artists exhibiting in France had to sign an oath assuring their "Aryan" status, including Matisse.[47] He also worked as a graphic artist and produced black-and-white illustrations for several books and over one hundred original lithographs at the Mourlot Studios in Paris.[citation needed]

In 1941, Matisse was diagnosed with duodenal cancer. The surgery, while successful, resulted in serious complications from which he nearly died.[48] Being bedridden for three months resulted in his developing a new art form using paper and scissors.[49]

That same year, a nursing student named Monique Bourgeois responded to an advertisement placed by Matisse for a nurse. A platonic friendship developed between Matisse and Bourgeois. He discovered that she was an amateur artist and taught her about perspective. After Bourgeois left the position to join a convent in 1944, Matisse sometimes contacted her to request that she model for him. Bourgeois became a Dominican nun in 1946, and Matisse painted a chapel in Vence, a small town he moved to in 1943, in her honor.[citation needed]

Matisse remained, for the most part, isolated in southern France throughout the war, but his family was intimately involved with the French resistance. His son Pierre, the art dealer in New York, helped the Jewish and anti-Nazi French artists he represented to escape occupied France and enter the United States. In 1942, Pierre held an exhibition in New York, "Artists in Exile", which was to become legendary. Matisse's estranged wife, Amélie, was a typist for the French Underground and jailed for six months. Matisse was shocked when he heard that his daughter Marguerite, who had been active in the Résistance during the war, was tortured (almost to death) by the Gestapo in a Rennes prison and sentenced to the Ravensbrück concentration camp in Germany.[10] Marguerite managed to escape from the train to Ravensbrück, which was halted during an Allied air raid; she survived in the woods in the chaos of the closing days of the war until rescued by fellow resisters.[50] Matisse's student Rudolf Levy was killed in the Auschwitz concentration camp in 1944.[51][52]

Final years

Cut-outs

See also: Jazz (Henri Matisse)
Poster for a Matisse exhibition in Paris 1953, showing a cut-out signed 1952

Diagnosed with abdominal cancer in 1941, Matisse underwent surgery that left him reliant on a wheelchair and often bed bound. Painting and sculpture became physical challenges, so with the help of his assistants, he began creating cut paper collages, or decoupage. He cut sheets of paper, pre-painted with gouache by his assistants, into shapes of varying colours and sizes, and arranged them to form lively compositions. The result was a distinct and dimensional complexity—an art form that was not quite painting, but not quite sculpture.[53][54] His initial pieces were modest in size, but he eventually developed murals and room-sized works. He referred to his final years as his second life, because while his mobility was limited, he could wander through gardens in the form of his cut-outs.[55][56]

Although the paper cut-out was Matisse's major medium in the final decade of his life, his first recorded use of the technique was in 1919 during the design of decor for the Le chant du rossignol, an opera composed by Igor Stravinsky.[54] Albert C. Barnes arranged for cardboard templates to be made of the unusual dimensions of the walls onto which Matisse, in his studio in Nice, fixed the composition of painted paper shapes. Another group of cut-outs were made between 1937 and 1938, while Matisse was working on the stage sets and costumes for Sergei Diaghilev's Ballets Russes. However, it was only after his operation that, bedridden, Matisse began to develop the cut-out technique as its own form, rather than its prior utilitarian origin.[57][58]

Cut-out, 1952

He moved to the hilltop of Vence, France in 1943, where he produced his first major cut-out project for his artist's book titled Jazz. However, these cut-outs were conceived as designs for stencil prints to be looked at in the book, rather than as independent pictorial works. At this point, Matisse still thought of the cut-outs as separate from his principal art form. His new understanding of this medium unfolds with the 1946 introduction for Jazz. After summarizing his career, Matisse refers to the possibilities the cut-out technique offers, insisting "An artist must never be a prisoner of himself, prisoner of a style, prisoner of a reputation, prisoner of success…"[57]

The number of independently conceived cut-outs steadily increased following Jazz, and eventually led to the creation of mural-size works, such as Oceania the Sky and Oceania the Sea of 1946. Under Matisse's direction, Lydia Delectorskaya, his studio assistant, loosely pinned the silhouettes of birds, fish, and marine vegetation directly onto the walls of the room. The two Oceania pieces, his first cut-outs of this scale, evoked a trip to Tahiti he made years before.[59]

In May 1954, his cut out The Sheaf was exhibited at the Salon de Mai and met with success.[60] The artwork was a commission for American collectors Sidney and Frances Brody and the cut out was then adapted to a ceramic for their house in Los Angeles. It is now located in the Los Angeles County Museum of Art.[61]

Chapel and museum

In 1948, Matisse began to prepare designs for the Chapelle du Rosaire de Vence, which allowed him to expand this technique within a truly decorative context. The experience of designing the chapel windows, chasubles, and tabernacle door—all planned using the cut-out method—had the effect of consolidating the medium as his primary focus. Finishing his last painting in 1951 (and final sculpture the year before), Matisse utilized the paper cut-out as his sole medium for expression up until his death.[62]

In 1952, Matisse established a museum dedicated to his work, the Matisse Museum in Le Cateau, and this museum is now the third-largest collection of Matisse works in France.[citation needed]

According to David Rockefeller, Matisse's final work was the design for a stained-glass window installed at the Union Church of Pocantico Hills near the Rockefeller estate north of New York City: "It was his final artistic creation; the maquette was on the wall of his bedroom when he died in November of 1954." Installation was completed in 1956.[63]

Death

Matisse died of a heart attack at the age of 84 on 3 November 1954. He is buried in the cemetery of the Monastère Notre Dame de Cimiez, in the Cimiez neighbourhood of Nice.[64]

Legacy

Tombstone of Henri Matisse and his wife Amélie Noellie, cemetery of the Monastère Notre Dame de Cimiez

The first painting of Matisse acquired by a public collection was Still Life with Geraniums (1910), acquired in 1912 by the Pinakothek der Moderne.[65]

Matisse's son Pierre Matisse (1900–1989) opened a modern art gallery in New York City during the 1930s. The Pierre Matisse Gallery, which was active from 1931 until 1989, represented and exhibited many European artists and a few Americans and Canadians in New York often for the first time. He exhibited Joan Miró, Marc Chagall, Alberto Giacometti, Jean Dubuffet, André Derain, Yves Tanguy, Le Corbusier, Paul Delvaux, Wifredo Lam, Jean-Paul Riopelle, Balthus, Leonora Carrington, Zao Wou Ki, Sam Francis, and Simon Hantaï, sculptors Theodore Roszak, Raymond Mason, and Reg Butler, and several other important artists, including the work of Henri Matisse.[66][67]

The Musée Matisse in Nice, a municipal museum, has one of the world's largest collections of Matisse's works, tracing his artistic beginnings and his evolution through to his last works. The museum, which opened in 1963, is located in the Villa des Arènes, a seventeenth-century villa in the neighbourhood of Cimiez.[68]

His The Plum Blossoms (1948) was purchased on 8 September 2005 for the Museum of Modern Art by Henry Kravis and the new president of the museum, Marie-Josée Drouin. Its estimated price was $25 million. Previously, it had not been seen by the public since 1970.[69]

A crater on the planet Mercury was named Matisse in his honor in 1976.[70]

In film, Matisse was portrayed by Joss Ackland in Surviving Picasso (1996), as well as by Yves-Antoine Spoto in Midnight in Paris (2011).

The Ray Bradbury short story "The Watchful Poker Chip of H. Matisse" contains an allusion to the artist painting an eye on a poker chip for an American man to use as a monocle.

Nazi-looted art

Numerous artworks by Matisse were seized by the Nazis or looted from Jewish collectors or changed hands in forced sales during the Nazi years. In the past twenty years, several artworks by Matisse have been restituted to the heirs of their pre-Third Reich owners, including Le Mur Rose, from France's Pompidou Museum to the heirs of Henry Fuld,[71] "Femme Assise", discovered in the stash of Hildebrand Gurlitt's son in Munich,[72] La vallée de la Stour, which had belonged to Anna Jaffé, found in the La Chaux-de-Fonds Museum[73] and many others. The German Lost Art Foundation lists 38 artworks by Matisse in the Lost Art Internet Database.[74]

Recent exhibitions

In 2004, the Metropolitan Museum of Art, the Royal Academy of Arts, London and Le Musée Matisse, Le Cateau-Cambrésis organized Matisse: The Fabric of Dreams: His Art and His Textiles, displaying Matisse’s textile collection with works showing the textiles. The exhibit was shown at the Musée Matisse (October 23, 2004–January 25, 2005), the Royal Academy of Arts (March 5–May 30, 2005) and the Metropolitan Museum of Art (June 23–September 25, 2005). The catalog was written by Hilary Spurling, Kathleen Brunner, Ann Dumas and others. ISBN 978-1-903-97347-9

In 2012, Matisse: In Search of True Painting[75][76] was organized by The Metropolitan Museum of Art, New York, in collaboration with the Statens Museum for Kunst, Copenhagen, and the Centre Pompidou, Musée National d'Art Moderne, Paris.  Roberta Smith of the New York Times described it as "the most thrillingly instructive exhibitions of [Matisse]."[77] The exhibit was shown at the Centre Pompidou, Paris (March 7–June 18, 2012), at the Metropolitan Museum of Art (December 4, 2012 – March 17, 2013) and the Statens Museum for Kunst, Copenhagen (July 14–October 28, 2012). The catalog was edited by Rebecca Rabinow and Dorthe Aagesen ISBN 978-0300184976

Henri Matisse: The Cut-Outs was exhibited at London's Tate Modern, from April to September 2014.[78] The show was the largest and most extensive of the cut-outs ever mounted, including approximately 100 paper maquettes—borrowed from international public and private collections—as well as a selection of related drawings, prints, illustrated books, stained glass, and textiles.[79] In total, the retrospective featured 130 works encompassing his practice from 1937 to 1954. The Tate Modern show was the first in its history to attract more than half a million people.[80]

The show was then moved to New York's Museum of Modern Art, where it was on display from October 12, 2014, until February 10, 2015. The newly conserved cut-out, The Swimming Pool, which had not been exhibited for more than 20 years, returned to the galleries as the centerpiece of the exhibition.[81]

From October 30, 2015 through January 18, 2016, the Morgan Library & Museum held of an exhibit of his book illustration projects titled, Graphic Passion: Matisse and the Book Arts.[82]

In 2018, Matisse's work was exhibited alongside that of Joan Miró, Le Corbusier, Raymond Hains and Éric Sandillon at the Museum of Decorative Arts and Design in Riga, Latvia.[83][84][85][86] This exhibition, titled "Colour of Gobelins: Contemporary Gobelins from the 'Mobilier national' collection in France," took place during the sixth edition of the Riga Textile Art.[83][84][85][86]

From 1 May to 10 September 2022, the Museum of Modern Art exhibited Matisse's painting The Red Studio, along with "paintings and drawings closely related to The Red Studio".

In 2023, the Metropolitan Museum of Art and the Museum of Fine Arts, Houston, co-organized and exhibited Vertigo of Color: Matisse, Derain, and the Origins of Fauvism, an exhibit examining their work together and the birth of Fauvism. The Metropolitan Museum of Art exhibited the show 13 October 2023 – 21 January 2024; the Museum of Fine Arts, Houston exhibited it 25 February–27 May 2024. The catalog was written by Dita Amory and Ann Dumas.

Partial list of works

Main article: List of works by Henri Matisse

Paintings

Illustrations

  • Jean Cocteau, Bertrand Guégan (1892–1943); L'almanach de Cocagne pour l'an 1920–1922, Dédié aux vrais Gourmands Et aux Francs Buveurs[88]

Writings

  • Notes of a Painter ("Note d'un peintre") (1908)
  • Painter's Notes on Drawing ("Notes d'un peintre sur son dessin") (1939)
  • Jazz (1947)
  • Matisse on Art, collected by Jack D. Flam (1973)
  • Chatting with Henri Matisse: The Lost 1941 Interview (2013)

References

Notes

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  8.  Spurling, Hilary (2000). The Unknown Matisse: A Life of Henri Matisse: The Early Years, 1869–1908. University of California Press, 2001. ISBN 0-520-22203-2. pp. 4–6
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  87.  Nan Robertson. "Modern Museum is Startled by Matisse Picture" New York Times, 5 December 1961.
  88.  Notice WorldCat; sudoc; BnF Archived 3 June 2016 at the Wayback Machine. Engraved on wood and unpublished drawings of: Matisse, J. Marchand, R. Dufy, Sonia Lewitska, de Segonzac, Jean Émile Laboureur, Friesz, Marquet, Pierre Laprade, Signac, Louis Latapie, Suzanne Valadon, Henriette Tirman and others.

Bibliography

  • Further reading

    • Amory, Dita and Ann Dumas. Vertigo of Color: Matisse, Derain, and the Origins of Fauvism.  New York: Metropolitan Museum of Art, 2023.  ISBN 978-1-588-39765-2.
    • Berggruen, Olivier and Max Hollein, eds., Henri Matisse: Drawing with Scissors: Masterpieces from the Late Years, Prestel, 2006. ISBN 3791334735.
    • Bois, Yve-Alain. Matisse in the Barnes Foundation, Philadelphia: The Barnes Foundation; New York and London: Thames & Hudson, 2016.
    • Kampis, Antal, Matisse, Budapest, 1959.
    • Marmer, Nancy, "Matisse and the Strategy of Decoration," Artforum, March 1966, pp. 28–33.
    • Rabinow, Rebecca and Dorthe Aagesen, editors.  Matisse: In Search of True Painting.  New York: Metropolitan Museum of Art, 2012. ISBN 978-0300184976
    • Sooke, Alastair, Henry Matisse: A Second Life. Penguin, 2014.
    • Müller, Markus, Henri Matisse: The Great Masters of Art, Hirmer Verlag GmbH, Munich 2017, ISBN 978-3-7774-2848-2.
    • Murrell, Denise, Posing Modernity: The Black Model from Manet and Matisse to Today. New Haven and London: Yale University Press, 2018.
    Fauvism    .  New York: Metropolitan Museum of Art, 2023.  ISBN 978-1-588-39765-2.
  • Berggruen, Olivier and Max Hollein, eds., Henri Matisse: Drawing with Scissors: Masterpieces from the Late Years, Prestel, 2006. ISBN 3791334735.
  • Bois, Yve-Alain. Matisse in the Barnes Foundation, Philadelphia: The Barnes Foundation; New York and London: Thames & Hudson, 2016.
  • Kampis, Antal, Matisse, Budapest, 1959.
  • Marmer, Nancy, "Matisse and the Strategy of Decoration," Artforum, March 1966, pp. 28–33.
  • Rabinow, Rebecca and Dorthe Aagesen, editors.  Matisse: In Search of True Painting.  New York: Metropolitan Museum of Art, 2012. ISBN 978-0300184976
  • Sooke, Alastair, Henry Matisse: A Second Life. Penguin, 2014.
  • Müller, Markus, Henri Matisse: The Great Masters of Art, Hirmer Verlag GmbH, Munich 2017, ISBN 978-3-7774-2848-2.
  • Murrell, Denise, Posing Modernity: The Black Model from Manet and Matisse to Today. New Haven and London: Yale University Press, 2018.

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"We ought to view ourselves with the same curiosity and openness with which we study a tree, the sky or a thought, because we too are linked to the entire universe."  (01/03/2022)


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