Henri Matisse
From Wikipedia, the free encyclopedia
"Matisse" redirects here. For other uses, see Matisse (disambiguation).
Henri Matisse
Henri Matisse, 1913, by Alvin Langdon Coburn
Born
Henri-Émile-Benoît Matisse
31 December 1869
Le Cateau-Cambrésis, Nord
Died
3 November 1954 (aged 84)
Nice, Alpes-Maritimes
Nationality French
Education
Académie Julian, William-Adolphe
Bouguereau, Gustave Moreau
Known for Painting, printmaking, sculpture,
drawing, collage
Notable
Woman with a Hat, 1905, Nu bleu, 1907, La
work
Danse, 1909
Movement
Fauvism, modernism,impressionism
Patron(s)
Gertrude Stein, Etta Cone,Claribel Cone,
Michael andSarah Stein, Albert C. Barnes
Henri-Émile-Benoît Matisse (French: [ɑ̃ʁi emil bənwɑ matis]; 31 December 1869 – 3
November 1954) was a French 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 and Marcel Duchamp, as one
of the three artists who helped to define the revolutionary developments in the plastic
arts in the opening decades of the twentieth century, responsible for significant
developments in painting and sculpture.[2][3][4][5] Although he was initially labelled
a Fauve (wild beast), by the 1920s he was increasingly hailed as an upholder of the
classical tradition in French painting.[6] 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]
Contents
[hide]
















1Early life and education
o 1.1Early paintings
2Fauvism
3Selected works: Paris, 1901–1910
4Sculpture
5Gertrude Stein, Académie Matisse, and the Cone sisters
o 5.1Selected works: Paris, 1910–1917
6After Paris
7The war years
8The final years
o 8.1The cut-outs
o 8.2The Chapel and museum
9Legacy
10Recent exhibitions
11Partial list of works
12Illustrations
13Portrayal in media and literature
14Books/essays
15References and sources
16Further reading

17External links
Early life and education[edit]
Henri and Amélie Matisse, 1898
Woman Reading, 1894, Museum of Modern Art, Paris
Matisse was born in Le Cateau-Cambrésis, in the Nord department in northern France,
the oldest son of a prosperous grain merchant.[8] He grew up in Bohain-en-Vermandois,
Picardie, France. 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 and became a student
of William-Adolphe Bouguereau and 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 theLouvre.[12]
In 1896 and 1897, Matisse visited the Australian painter John Peter Russell on the
island Belle Île off the coast of Brittany. Russell introduced him to Impressionismand to
the work of van Gogh, who had been a friend of Russell but was completely unknown at
the time. Matisse's style changed completely. He later said "Russell was my teacher,
and Russell explained colour theory to me."[11] In 1896 Matisse exhibited five paintings in
the salon of the Société Nationale des Beaux-Arts, two of which were purchased by the
state.[13]
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.[14]
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.[15] Upon his return to Paris in
February 1899, he worked beside Albert Marquet and met André Derain, Jean
Puy,[16] and Jules Flandrin.[17] 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.[16]
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 Néoimpressionisme".[15] His paintings of 1902–03, a period of material hardship for the artist,
are comparatively somber and reveal a preoccupation with form. 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.[18]
Early paintings[edit]

Blue Pot and Lemon (1897),Hermitage Museum, St. Petersburg,
Russia

Fruit and Coffeepot (1898),Hermitage Museum, St. Petersburg,
Russia

Vase of Sunflowers (1898),Hermitage Museum, St. Petersburg,
Russia

Crockery on a Table (1900),Hermitage Museum, St. Petersburg,
Russia
Fauvism[edit]
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.[19][20] The leaders of
the movement were Matisse and André Derain.[19] Matisse's first solo exhibition was
at Ambroise Vollard's gallery in 1904,[16] 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 andHenri-Edmond Cross.[15] In
that year he painted the most important of his works in the neo-Impressionist
style, Luxe, Calme et Volupté.[15] 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 Open Window and Woman with the Hat at the Salon. Critic Louis
Vauxcelles described the work with the phrase "Donatello parmi les fauves!" (Donatello
among the wild beasts), referring to a Renaissance-type sculpture that shared the room
with them.[21] His comment was printed on 17 October 1905 in Gil Blas, a daily
newspaper, and passed into popular usage.[19][21] The exhibition garnered harsh
criticism—"A pot of paint has been flung in the face of the public", said the criticCamille
Mauclair—but also some favourable attention.[21] When the painting that was singled out
for special condemnation, Matisse's Woman with a Hat, was bought
by Gertrude and Leo Stein, the embattled artist's morale improved considerably.[21]
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."[22] 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.[23]
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 Tangiers he made several changes to his work, including
his use of black as a colour.[24][25][26] The effect on Matisse's art was a new boldness in the
use of intense, unmodulated colour, as in L'Atelier Rouge (1911).[15]
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: Paris, 1901–1910[edit]

Luxembourg Gardens, 1901,Hermitage Museum, St. Petersburg,
Russia

Dishes and Fruit, 1901,Hermitage Museum, St. Petersburg, Russia

A Glimpse of Notre-Dame in the Late Afternoon, 1902, AlbrightKnox Art Gallery, Buffalo, New York

Nu (Carmelita), 1904, Museum of Fine Arts, Boston

Luxe, Calme et Volupté, 1904,Musée d'Orsay, Paris, France[27]

Landscape at Collioure, 1905,Museum of Modern Art

Open Window, Collioure, 1905,National Gallery of Art, Washington,
D.C.

Portrait of Madame Matisse (The green line), 1905, Statens
Museum for Kunst,Copenhagen, Denmark

Le bonheur de vivre, 1905–6,Barnes Foundation

Self-Portrait in a Striped T-shirt1906, Statens Museum for
Kunst, Copenhagen, Denmark

The Young Sailor II, 1906,Metropolitan Museum of Art, New York
City

Vase, Bottle and Fruit, 1906,Hermitage Museum, St. Petersburg,
Russia

Blue Nude, 1907, Baltimore Museum of Art

La coiffure, 1907, Staatsgalerie Stuttgart

Madras Rouge, The Red Turban, 1907, Barnes Foundation.
Exhibited at the 1913 Armory Show

Le Luxe II, 1907–08, Statens Museum for Kunst, Copenhagen

Les trois baigneuses (Three Bathers), 1907, The Minneapolis
Institute of Arts[28]

Bathers with a Turtle, 1908,Saint Louis Art Museum, St. Louis

Game of Bowls, 1908,Hermitage Museum, St. Petersburg, Russia

The Dance (first version), 1909,The Museum of Modern Art, New
York City

Still Life with Dance, 1909,Hermitage Museum, Saint Petersburg

The Dance, 1910, Hermitage Museum, St. Petersburg, Russia

Les Capucines (Nasturtiums with The Dance II), 1910–12,Pushkin
Museum

Music, 1910, Hermitage Museum, St. Petersburg, Russia
Sculpture[edit]
Henri Matisse, 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[29][30][31]

Henri Matisse, 1900-1904, Le Serf (The Serf, Der Sklave), bronze

Henri Matisse, 1905, Sleep, wood, exhibition Blue Rose (Голубая
Роза), 1907, location unknown

Henri Matisse, 1906–07, Nu couché, I (Reclining Nude, I), bronze,
exhibited at Montross Gallery, New York, 1915

Henri Matisse, 1907,Awakening, plaster, exhibition Salon of the
Golden Fleece (Салон Золотого Руна) 1908

Henri Matisse, 1908, Figure décorative, bronze
Gertrude Stein, Académie Matisse, and the Cone sisters[edit]
Henri Matisse, Red Room (Harmony in Red) (1908)
Henri Matisse in Paris, 13 August 1913. Photograph byCarl Van Vechten
Around April 1906 he met Pablo Picasso, who was 11 years younger than
Matisse.[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 much more inclined to work from imagination. The subjects painted most
frequently by both artists were women and still life, 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 and her companion 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.[32]
Henri Matisse, The Moroccans, 1915-16, oil on canvas, 181.3 x 279.4 cm, Museum of Modern Art[24]
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
ofRenoir, Cézanne, Matisse, and Picasso dominated Leo and Gertrude Stein's
collection, Sarah Stein's collection particularly emphasised Matisse.[33]
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—and the
Cézannes: Matisse brought people, everybody brought somebody, and they came at
any time and it began to be a nuisance, and it was in this way that Saturday evenings
began."[34]'
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.[35]
His friends organised and financed the Académie Matisse in Paris, a private and noncommercial 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.[36]
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.[37]
Selected works: Paris, 1910–1917[edit]

Still Life with Geraniums, 1910,Pinakothek der Moderne, Munich,
Germany

L'Atelier Rouge, 1911, The Museum of Modern Art, New York City

The Conversation, c.1911, TheHermitage, St. Petersburg, Russia

Window at Tangier, 1911-12, The Pushkin Museum of Fine Arts,
Moscow

Zorah on the Terrace, 1912, ThePushkin Museum of Fine
Arts,Moscow, Russia

Le Rifain assis, 1912–13, 200 × 160 cm. Barnes Foundation

Portrait of the Artist's Wife, 1913, Hermitage Museum, Saint
Petersburg

La glace sans tain (The Blue Window), 1913, Museum of Modern
Art

Woman on a High Stool, 1914,Museum of Modern Art, New York
City

View of Notre-Dame, 1914,Museum of Modern Art

Les poissons rouges (Interior with a Goldfish Bowl), Musée National
d'Art Moderne, Centre Georges Pompidou, Paris

French Window at Collioure, 1914. Musée National d'Art Moderne,
Paris

The Yellow Curtain, 1915,Museum of Modern Art, New York

Auguste Pellerin II, 1916–17,Musée National d'Art Moderne, Paris

The Painter and His Model (Le Peintre dans son atelier), 1916–17,
Musée National d'Art Moderne, Paris

Three Sisters and The Rose Marble Table (Les Trois sœurs à La
Table de marbre rose), 1917, Barnes Foundation, Philadelphia

Portrait de famille (The Music Lesson), 1917, oil on canvas, 245.1 x
210.8 cm, Barnes Foundation
After Paris[edit]
Odalisque with Arms Raised, (of Henriette Darricarrière), 1923, National Gallery of Art, Washington,
D.C.
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 a softening
of his approach. This "return to order" is characteristic of much art of the post-World
War I period and can be compared with the neoclassicism of Picasso and Stravinsky as
well as the return to traditionalism of Derain. His orientalist odalisque paintings are
characteristic of the period; while this work was popular, some contemporary critics
found it shallow and decorative.[38]
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 him 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 cutout technique are also evident in his painting Large Reclining Nude (1935).
Matisse worked on this painting over a period of several months and documented the
progress with a series of 22 photographs which he sent to Etta Cone.[39]
The war years[edit]
Annelies, White Tulips and Anemones 1944
Matisse's wife Amélie, who suspected that he was having an affair with her young
Russian emigre 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 aftereffects, and instead returned to the now-single 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. [40]
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 it was still possible. Matisse was, in fact, about to embark for
Brazil to escape the Occupation, but abruptly changed his mind and remained in Nice,
in Vichy France. “It seemed to me as if I would be deserting,” he wrote Pierre in
September, 1940. “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 greatest artists chose to stay, though of course,
being non-Jewish, he had that option.[41]
While the Nazis occupied France from 1940-1944, 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, though 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.[42] 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.
In 1941, Matisse was diagnosed with duodenal cancer. The surgery, while successful,
resulted in serious complications from which he nearly died.[43] Being bedridden for three
months resulted in his developing a new art form using paper and scissors (see
following section) [44]
That same year, a nursing student named Monique Bourgeois responded to an ad
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. (See section below, "The Chapel and the Museum")
Matisse remained for the most part isolated in southern France throughout the war.
Nonetheless, 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, he held
an exhibit in New York, "Artists in Exile," which was to become legendary. Matisse's
estranged wife, Amelie, was a typist for the French Underground and jailed for six
months. And 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 Ravensbrück-bound train, which
was halted during an Allied air strike; she survived in the woods in the chaos of the
closing days of the war, until rescued by fellow resisters.[45]
Matisse's student Rudolf Levy was killed in the Auschwitz concentration camp in
1944.[46][47]
Henri Matisse, The Snail, 1953,Gouache on paper, cut and pasted, on white paper, collection Tate
Modern
The final years[edit]
Cover of Jazz by Henri Matisse
The cut-outs[edit]
See also: Jazz (Henri Matisse)
Diagnosed with abdominal cancer in 1941, Matisse underwent surgery that left him
chair and bed bound. Painting and sculpture had become physical challenges, so he
turned to a new type of medium. With the help of his assistants, he began creating cut
paper collages, or decoupage. He would cut sheets of paper, pre-painted
withgouache by his assistants, into shapes of varying colours and sizes, and arrange
them to form lively compositions. Initially, these pieces were modest in size, but
eventually transformed into murals or room-sized works. The result was a distinct and
dimensional complexity—an art form that was not quite painting, but not quite
sculpture.[48][49]
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 made by Igor Stravinsky.[49] 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.[50][51]
He moved to the hilltop of Vence 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…"[50]
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 Skyand 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. His first cut-outs of this scale, the two Oceania pieces evoked a trip to
Tahiti he made years before.[52]
The Chapel and museum[edit]
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.[53]
This project was the result of the close friendship between Matisse and Bourgeois, now
Sister Jacques-Marie, despite him being an atheist.[54][55] They had met again
in Vence and started the collaboration, a story related in her 1992 book Henri Matisse:
La Chapelle de Vence and in the 2003 documentary "A Model for Matisse".[56]
In 1952 he 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.
According to David Rockefeller, Matisse's final work was the design for a stainedglass 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", Rockefeller writes. Installation
was completed in 1956.[57]
Matisse died of a heart attack at the age of 84 on 3 November 1954. He is interred in
the cemetery of the Monastère Notre Dame de Cimiez, near Nice.[58]
Legacy[edit]
The Plum Blossoms, 1948, Museum of Modern Art, NYC
Tombstone of Henri Matisse and his wife Noellie, cemetery of the Monastère Notre Dame de
Cimiez,Cimiez, France
The first painting of Matisse acquired by a public collection was Still Life with
Geraniums (1910), exhibited in the Pinakothek der Moderne.[59]
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. Estimated price was US$25 million. Previously, it had not been seen by the
public since 1970.[60] In 2002, a Matisse sculpture, Reclining Nude I (Dawn), sold for
US$9.2 million, a record for a sculpture by the artist.
Matisse's daughter Marguerite often aided Matisse scholars with insights about his
working methods and his works. She died in 1982 while compiling a catalogue of her
father's work.[61]
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, sculptors Theodore Roszak, Raymond Mason,
and Reg Butler, and several other important artists, including the work of Henri
Matisse.[62][63]
Henri Matisse's grandson, Paul Matisse, is an artist and inventor living
in Massachusetts. Matisse's great-granddaughter, Sophie Matisse, is active as an artist.
Les Heritiers Matisse functions as his official Estate. The U.S. copyright representative
for Les Heritiers Matisse is the Artists Rights Society.[64]
Recent exhibitions[edit]
Henri Matisse: The Cut-Outs was first exhibited at London’s Tate Modern, from April to
September 2014.[65] 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.[66] 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.[67]
The show then traveled to New York’s Museum of Modern Art, where it was on display
through 10 February 2015. The newly conserved cut-out, The Swimming Pool, which
had been off view for more than 20 years prior, returned to the galleries as the
centerpiece of the exhibition.[68]
Partial list of works[edit]
Main article: List of works by Henri Matisse
















Woman Reading (1894), Musée National d'Art
Moderne Paris
Le Mur Rose (1898), Musée National d'Art Moderne
"Canal du Midi" (1898), Thyssen-Bornemisza Museum
Notre-Dame, une fin d'après-midi (1902),Albright-Knox Art
Gallery, Buffalo, New York
"Luxe, Calme, et Volupté" (1904), Musée National d'Art
Moderne
Green Stripe (1905)
The Open Window (1905)
Woman with a Hat (1905)
Les toits de Collioure (1905)
Landscape at Collioure (1905)
Le bonheur de vivre (1906)
The Young Sailor II (1906)
Self-Portrait in a Striped T-shirt (1906)
Madras Rouge (1907)
Blue Nude (1907), Baltimore Museum of Art
The Dessert: Harmony in Red (The Red Room)(1908)





































Bathers with a Turtle (1908), Saint Louis Art
Museum, Missouri
La Danse (1909)
Still Life with Geraniums (1910)
L'Atelier Rouge (1911)
The Conversation (1908–1912)
Zorah on the Terrace (1912)
Le Rifain assis (1912)
Window at Tangier (1912)
Le rideau jaune (the yellow curtain) (1915)
The Window (1916), Detroit Institute of Arts,Michigan
The Painter and His Model (1916–17)
The Windshield, On the Road to
Villacoublay(1917), Cleveland Museum of Art
La leçon de musique (1917)
Interior A Nice (1920)
Festival of Flowers, Nice (1923), Cleveland Museum of Art
Odalisque with Raised Arms (1923), National Gallery of Art,
Washington, D.C.
Yellow Odalisque (1926)
The Dance II (1932), triptych mural (45 ft by 15 ft) in
the Barnes Foundation of Philadelphia
Robe violette et Anémones (1937)
Woman in a Purple Coat (1937)
Le Rêve de 1940 (the dream of 1940) (1940)
La Blouse Roumaine (1940)
Interior with an Etruscan Vase (1940), Cleveland Museum
of Art
Le Lanceur De Couteaux (1943)
Annelies, White Tulips and Anemones (1944),Honolulu
Museum of Art
L'Asie (1946)
Deux fillettes, fond jaune et rouge (1947)
Jazz (1947)
The Plum Blossoms (1948)
Chapelle du Saint-Marie du Rosaire (1948–1951)
Beasts of the Sea (1950)
Facial-maschera (1951)
The Sorrows of the King (1952)
Black Leaf on Green Background (1952)
La Négresse (1952)
Blue Nude II (1952)
The Snail (1953)

Le Bateau (1954) This gouache created a minor stir when
the MoMA mistakenly displayed it upside-down for 47 days
in 1961.[69]

Jean Cocteau, Bertrand Guégan (1892-1943); L'almanach
de Cocagne pour l'an 1920-1922, Dédié aux vrais
Gourmands Et aux Francs Buveurs[70]
Illustrations[edit]
Portrayal in media and literature[edit]
Film dramatisations


A film called Masterpiece, about the artist and his
relationship with Monique Bourgeois,[71] was proposed in
2011. Deepa Mehta intended to direct with Al Pacinoto play
Henri Matisse.
Matisse was played by Yves-Antoine Spoto in the 2011
film Midnight in Paris.
Exhibition on Screen



The Museum of Modern Art’s Matisse retrospective was
part of the film series "Exhibition on Screen", which
broadcasts productions to movie theaters.
Although none of it is live, the film, "Matisse From MoMA
and Tate Modern", combines high-definition footage of the
galleries with commentary from curators, museum
administrators and, through narration of words from the
past, Matisse himself.
"We want to show the exhibition as well as we possibly can
to the audience who can’t get there", said director Phil
Grabsky. Inspired by a similar "event cinema" produced by
the Met, Mr. Grabsky started his series to simulate the
experience of strolling through an art exhibit.[72]
Literature

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.

Notes of a Painter, 1908
Books/essays[edit]





Painter's Notes on Drawing, 1930.
Jazz, 1947
Matisse, Kampis Antal, 1959
Matisse on Art, collected by Jack D. Flam, 1973. ISBN 07148-1518-7
Chatting with Henri Matisse: The Lost 1941 Interview, Getty
Publications 2013. ISBN 978-1-60606-128-2
References and sources[edit]
References
1. Jump up^ Myers, Terry R. (July–August 2010). "Matisse-onthe-Move". The Brooklyn Rail.
2. Jump up^ "Tate Modern: Matisse Picasso". Tate.org.uk.
Retrieved 13 February 2010.
3. Jump up^ Adrian Searle (7 May 2002). "Searle, Adrian, A
momentous, tremendous exhibition, The Guardian, Tuesday 7
May 2002". Guardian (UK). Retrieved13 February 2010.
4. Jump up^ "Trachtman, Paul, Matisse & Picasso, Smithsonian,
February 2003". Smithsonianmag.com. Retrieved 13
February 2010.
5. Jump up^ "Duchamp's urinal tops art survey". news.bbc.co.uk.
1 December 2004. Retrieved 10 December 2010.
6. Jump up^ Wattenmaker, Richard J.; Distel, Anne, et al.
(1993). Great French Paintings from the Barnes Foundation.
New York: Alfred A. Knopf. ISBN 0-679-40963-7. p. 272
7. Jump up^ Magdalena Dabrowski Department of NineteenthCentury, Modern, and Contemporary Art, The Metropolitan
Museum of Art Source: Henri Matisse (1869–1954) | Thematic
Essay | Heilbrunn Timeline of Art History | The Metropolitan
Museum of Art Retrieved 30 June 2010
8. Jump up^ 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
9. Jump up^ Leymarie, Jean; Read, Herbert; Lieberman, William
S. (1966), Henri Matisse, UCLA Art Council, p.9.
10. ^ Jump up to:a b Bärbel Küster. "Arbeiten und auf niemanden
hören." Süddeutsche Zeitung, 6 July 2007. (German)
11. ^ Jump up to:a b c d The Unknown Matisse, pp 352–553..., ABC
Radio National, 8 June 2005
12. Jump up^ Spurling, Hilary. The Unknown Matisse: A Life of
Henri Matisse, the Early Years, 1869–1908. p.86. accessed
online 15 July 2007
13. Jump up^ Henri and Pierre Matisse, Cosmopolis, No 2,
January 1999
14. Jump up^ Marguerite Matisse Retrieved 13 December 2010
15. ^ Jump up to:a b c d e Oxford Art Online, "Henri Matisse"
16. ^ Jump up to:a b c Leymarie, Jean; Read, Herbert; Lieberman,
William S. (1966), Henri Matisse, UCLA Art Council, p.10.
17. Jump up^ [1] on page 23 of Google Book Link
18. Jump up^ Leymarie, Jean; Read, Herbert; Lieberman, William
S. (1966), Henri Matisse, UCLA Art Council, pp.19–20.
19. ^ Jump up to:a b c John Elderfield, The "Wild Beasts" Fauvism
and Its Affinities, 1976,Museum of Modern Art, p.13, ISBN 087070-638-1
20. Jump up^ Freeman, Judi, et al., The Fauve Landscape, 1990,
Abbeville Press, p. 13,ISBN 1-55859-025-0.
21. ^ Jump up to:a b c d Chilver, Ian (Ed.). "Fauvism", The Oxford
Dictionary of Art, Oxford University Press, 2004. Retrieved from
enotes.com, 26 December 2007.
22. Jump up^ Picasso and Braque pioneering cubism, William
Rubin, published by theMuseum of Modern Art, New York,
copyright 1989, ISBN 0-87070-676-4 p.348.
23. Jump up^ "Matisse, Henri." Encyclopædia Britannica. 2007.
Encyclopædia Britannica Online. Retrieved 30 July 2007.
24. ^ Jump up to:a b The Moroccans, MoMA
25. Jump up^ Matisse in Morocco: The Paintings and Drawings,
1912–1913, NGA
26. Jump up^ Review: John Russell, Matisse and the Mark Left On
Him By Morocco, NY Times
27. Jump up^ Matisse, Luxe, calme et volupté, 1904, Musée
d'Orsay, Paris, France
28. Jump up^ Three Bathers, 1907, oil on canvas, 60.3 x 73 cm,
The Minneapolis Institute of Arts
29. Jump up^ The Guardian, Hillary Spurling on The Back Series
30. Jump up^ MoMA, the collection
31. Jump up^ Tate
32. Jump up^ Cone Collection, Baltimore Museum of Art.
Retrieved 29 July 2007.
33. Jump up^ (MoMA, 1970 at 28)
34. Jump up^ Mellow, 1974, p. 84
35. Jump up^ Mellow, 1974, p. 94-95
36. Jump up^ Christopher Green, Art in France, 1900-1940,
Pelican History of Art Series, Yale University Press, 2003, p.
64, ISBN 0300099088
37. Jump up^ Jack Cowart, Pierre Schneider, John Elderfield
(1990). Matisse in Morocco: The Paintings and Drawings,
1912–1913.
38. Jump up^ Jack Cowart and Dominique Fourcade. Henri
Matisse: The Early Years in Nice 1916–1930. Henry N. Abrams,
Inc., 1986. p. 47. ISBN 978-0810914421.
39. Jump up^ Henri Matisse Photographic documentation of 22
progressive states of Large Reclining Nude, 1935, The Jewish
Museum Archived 17 January 2015 at theWayback Machine
40. Jump up^ http://www.henri-matisse.net/biography.html
41. Jump up^ "Art & Politics in the Vichy Period," by Hilton Kramer,
The New Criterion, March,
1992 http://www.newcriterion.com/articles.cfm/Art---politics-inthe-Vichy-period-4518
42. Jump up^ Paris in the Third Reich: A History of the German
Occupation, 1940-1944, by David Pryce-Jones; Holt, Rinehart &
Winston (1981), page 220
43. Jump up^ "Matisse: A biography" by Patricia Daniels,
44. Jump up^ Lacayo, Richard (3 November 2014), The Paper
Chase. At MOMA, a dazzling display of Matisse’s blissful "CutOuts", retrieved 9 April 2015
45. Jump up^ Heftrig, Ruth; Olaf Peters; Barbara Maria
Schellewald [editors] (2008),Kunstgeschichte im "Dritten Reich":
Theorien, Methoden, Praktiken, Akademie Verlag, p. 429;
Spurling, Hilary, Matisse the Master: A Life of Henri Matisse,
the Conquest of Colour, 1909–1954, p.424.
46. Jump up^ Gilbert, Martin (2002). The Routledge Atlas of the
Holocaust. Psychology Press. p. 10. ISBN 978-0-415-28145-4.
47. Jump up^ Ruhrberg, Karl (1986). Twentieth Century art:
Painting and Sculpture in the Ludwig Museum. Rizzoli.
p. 55. ISBN 978-0-8478-0755-0.
48. Jump up^ Cotter, Holland (9 October 2014), "Wisps From an
Old Man’s Dreams ‘Henri Matisse: The Cut-Outs,’ a Victory Lap
at MoMA", New York Times, retrieved17 February 2015
49. ^ Jump up to:a b MoMA (2014), Henri Matisse: The Cut-Outs,
retrieved 19 February 2015
50. ^ Jump up to:a b Elderfield, John (1978). The Cut-Outs of Henri
Matisse. New York: George Braziller. p. 8. ISBN 0807608866.
51. Jump up^ Matisse, Henri (2001). Jazz. New York: Prestel
Publishing. p. 10.ISBN 379132392X.
52. Jump up^ Cotter, Holland (9 October 2014), "Wisps From an
Old Man’s Dreams ‘Henri Matisse: The Cut-Outs,’ a Victory Lap
at MoMA", New York Times, retrieved17 February 2015
53. Jump up^ Elderfield, John (1978). The Cut-Outs of Henri
Matisse. New York: George Braziller. p. 9. ISBN 0807608866.
54. Jump up^ Catherine Bock-Weiss (2009). Henri Matisse:
Modernist Against the Grain. Penn State Press.
p. 147. ISBN 9780271035123. Natural enough, since he was
surrounded by priests and nuns during his later illnesses and
while working on the Venice Chapel, even though he remained
a convinced atheist.
55. Jump up^ Sister Jacques-Marie Influence for Matisse's Rosary
Chapel, Dies, NY Times, 29 September 2005 Retrieved 27 July
2010
56. Jump up^ French Professor Directs "Model for Matisse",
Carnegie Mellon Today, 30 June 2003. Retrieved 30 July 2007.
57. Jump up^ David Rockefeller, It is a pleasure to welcome you to
the Union Church of Pocantico Hills, Union Church of Pocantico
Hills website, accessed 30 July 2010
58. Jump up^ Schneider, Pierre (1984). Matisse. New York:
George Braziller. p. 740.ISBN 0500091668.
59. Jump up^ Butler, Desmond. "Art/Architecture; A Home for the
Modern In a Time-Bound City", The New York Times, 10
November 2002. Retrieved 25 December 2007.
60. Jump up^ The Modern Acquires a 'Lost' Matisse, The New
York Times, 8 September 2005
61. Jump up^ "Marguerite Duthuit, a Model In Art of Matisse, Her
Father", New York Times, 3 April 1982
62. Jump up^ Russell, John (1999). Matisse, Father & Son. New
York: Harry N. Abrams. pp.387–389 ISBN 0-8109-4378-6
63. Jump up^ Metropolitan Museum exhibition of works from the
Pierre Matisse Gallery, accessed online 20 June
2007 Archived 17 January 2015 at the Wayback Machine
64. Jump up^ Most frequently requested artists list of the Artists
Rights Society Archived2 July 2015 at the Wayback Machine
65. Jump up^ Henri Matisse: The Cut-Outs, Tate, retrieved 28
February 2015
66. Jump up^ Henri Matisse: The Cut-Outs, Museum of Modern
Art, retrieved 28 February2015
67. Jump up^ Henri Matisse exhibition is Tate's most successful
art show, BBC, 15 September 2014, retrieved 28
February 2015
68. Jump up^ Henri Matisse: The Cut-Outs, Museum of Modern
Art, retrieved 28 February2015
69. Jump up^ Nan Robertson. "Modern Museum is Startled by
Matisse Picture" New York Times, 5 December 1961.
70. Jump up^ Notice WorldCat; sudoc; BnF. 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.´
71. Jump up^ Child, Ben (14 February 2011). "Al Pacino to play
Henri Matisse". The Guardian. Retrieved 29 April 2012.
72. Jump up^ Battaglia, Andy (11 January 2015). "Matisse’s CutOuts, Now Screening at a Theater Near You". The Wall Street
Journal. Retrieved 7 April 2014.
Sources





Alfred H. Barr, Jr., Matisse: His Art and His Public New
York: The Museum of Modern Art, 1951. ISBN 0-87070469-9; ISBN 978-0-87070-469-7.
Olivier Berggruen and Max Hollein, Editors. Henri Matisse:
Drawing with Scissors: Masterpieces from the Late Years.
Prestel Publishing, 2006. ISBN 978-3791334738.
F. Celdran, R.R. Vidal y Plana. Triangle : Henri Matisse –
Georgette Agutte – Marcel Sembat Paris, Yvelinedition,
2007. ISBN 978-2-84668-131-5.
Jack Cowart and Dominique Fourcade. Henri Matisse: The
Early Years in Nice 1916–1930. Henry N. Abrams, Inc.,
1986. ISBN 978-0810914421.
Raymond Escholier. Matisse. A Portrait of the Artist and the
Man. London, Faber & Faber, 1960.








Lawrence Gowing. Matisse. New York, Oxford University
Press, 1979. ISBN 0-19-520157-4.
Hanne Finsen, Catherine Coquio, et al. Matisse: A Second
Life. Hazan, 2005. ISBN 978-2754100434.
David Lewis. "Matisse and Byzantium, or, Mechanization
Takes Command" in Modernism/modernity 16:1 (January
2009), 51–59.
John Russell. Matisse, Father & Son, published by Harry N.
Abrams, NYC. Copyright John Russell 1999, ISBN 0-81094378-6
Pierre Schneider. Matisse. New York, Rizzoli, 1984. ISBN
0-8478-0546-8.
Hilary Spurling. The Unknown Matisse: A Life of Henri
Matisse, Vol. 1, 1869–1908. London, Hamish Hamilton Ltd,
1998. ISBN 0-679-43428-3.
Hilary Spurling. Matisse the Master: A Life of Henri Matisse,
Vol. 2, The Conquest of Colour 1909–1954. London,
Hamish Hamilton Ltd, 2005. ISBN 0-241-13339-4.
Alastair Wright. Matisse and the Subject of
Modernism Princeton, Princeton University Press,
2006. ISBN 0-691-11830-2.
Further reading[edit]

Nancy Marmer, "Matisse and the Strategy of
Decoration," Artforum, March 1966, pp. 28–33.
External links[edit]
Wikiquote has quotations
related to: Henri Matisse
Wikimedia Commons has
media related to Henri
Matisse.






Footage of Henri Matisse in Vence, France working on the
New Chapel of Vence
Henri Matisse: Life and Work 500 hi-res images
Henri Matisse at the Museum of Modern Art
Musée Matisse Nice
The nude in Matisse
Getty Research Institute. Los Angeles, California



Gelett Burgess, The Wild Men of Paris, Matisse, Picasso
and Les Fauves, 1910
Documenting the Gilded Age: New York City Exhibitions at
the Turn of the 20th Century A New York Art Resources
Consortium project. Matisse exhibition catalog, and
photoarchive file of Young Sailor II.
Henri Matisse in American public collections on the French
Sculpture Census website
[show]

v

t

e
Henri Matisse (List of works)
[show]

v

t

e
Fauvism

WorldCat

VIAF: 42630086

LCCN: n79054729

ISNI: 0000 0001 2130 0449

GND: 118578847

SUDOC: 027017303

BNF: cb11915136j (data)

BIBSYS: x14028960

ULAN: 500017300

MusicBrainz: 4fe97bba-f164-4982-bf75-5e55859278b6

NDL: 00449131

NKC: jn20000603932

ICCU:IT\ICCU\CFIV\027959

RKD: 53996
Authority control
Categories:


Henri Matisse
1869 births













1954 deaths
19th-century French painters
20th-century French painters
20th-century French sculptors
Alumni of the Académie Julian
Fauvism
French atheists
French printmakers
Modern painters
People from Le Cateau-Cambrésis
Post-impressionist painters
School of Paris
19th-century French sculptors
Navigation menu

Not logged in

Talk

Contributions

Create account

Log in





Read
Edit
View history
Go
 Main page
 Contents
 Featured content
 Current events
 Random article
 Donate to Wikipedia
 Wikipedia store
Interaction
 Help
 About Wikipedia
 Community portal
 Recent changes
 Contact page
Tools
 What links here
 Related changes
Article
Talk
 Upload file
 Special pages
 Permanent link
 Page information
 Wikidata item
 Cite this page
Print/export
 Create a book
 Download as PDF
 Printable version
Languages
 Адыгэбзэ
 Afrikaans
 Alemannisch
 ‫ال عرب ية‬
 Aragonés
 ‫ܐܪܡܝܐ‬
 অসমীয়া



Asturianu
Azərbaycanca
ব়াাংল়া



























Bân-lâm-gú
Башҡортса
Беларуская
Беларуская (тарашкевіца)
Български
Boarisch
Bosanski
Brezhoneg
Буряад
Català
Чӑвашла
Čeština
Corsu
Cymraeg
Dansk
Deutsch
Eesti
Ελληνικά
Español
Esperanto
Euskara
‫ف ار سی‬
Fiji Hindi
Føroyskt
Français
Frysk
Gaeilge







Galego
한국어
Հայերեն
Hrvatski
Ido
Ilokano
বিষ্ণুবিয়া মবিপুরী























Bahasa Indonesia
Interlingua
Íslenska
Italiano
‫עברית‬
Basa Jawa
Kalaallisut
Kapampangan
ქართული
Қазақша
Kernowek
Kiswahili
Ladino
Latina
Latviešu
Lëtzebuergesch
Lietuvių
Limburgs
Lumbaart
Magyar
Македонски
Malagasy
മലയാളം

मराठी







‫م صرى‬
Bahasa Melayu
Mirandés
Монгол
Dorerin Naoero
Nederlands
नेपाल भाषा








日本語
Нохчийн
Norsk bokmål
Norsk nynorsk
Occitan
Олык марий
Oʻzbekcha/ўзбекча
ਪੰ ਜਾਬੀ

Pangasinan


























‫پ نجاب ی‬
Picard
Piemontèis
Polski
Português
Qaraqalpaqsha
Ripoarisch
Română
Русиньскый
Русский
Саха тыла
Seeltersk
Shqip
Sicilianu
Simple English
Slovenčina
Slovenščina
‫ن دیک وردي ی ن اوە‬
Српски / srpski
Srpskohrvatski / српскохрватски
Suomi
Svenska
Tagalog
தமிழ்
Татарча/tatarça
ไทย
 Türkçe
 Українська
 ‫اردو‬
 Vepsän kel’
 Tiếng Việt
 Volapük
 Winaray
 ‫יידִיי‬
 粵語
 Žemaitėška
 中文
Edit links

This page was last modified on 11 January 2016, at 23:18.

Text is available under the Creative Commons Attribution-ShareAlike License;
additional terms may apply. By using this site, you agree to the Terms of
Use and Privacy Policy. Wikipedia® is a registered trademark of theWikimedia
Foundation, Inc., a non-profit organization.