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THE PINK STUDIO, 1911 BY HENRI MATISSE The first impression received from Pink Studio is as jolting as that of its companion, Red Studio.The unheralded quality of the pink, which is not as all-pervasive as the red of the other, is in no way muted by the differing intensities applied to the floor and the wall, and the prominent areas of green and blue serve to reinforce its sumptuous luminosity, a quality significantly absent from THE PIANO LESSON, 1916 BY HENRI MATISSE The Piano Lesson depicts the living room of Matisse's home in Issy-les-Moulineaux, with his elder son, Pierre, at the piano, the artist's sculpture Decorative Figure (1908), at bottom left, and, at upper right, his painting Woman on a High Stool. Matisse began with a naturalistic drawing, but he eliminated detail as he worked, scraping down areas and rebuilding them in broad fields of color. CLAUDE MONT'S INFLUENCE ON HENRI MATISSE Claude Mont's influence on Henri Matisse. The Impressionists' desire to look at the world with a new freshness and immediacy continues to appeal to audiences today, making it the most popular style of painting in the world. The Impressionists were radical in their own time because "High Art" was supposed to depict gods, heroes and warssubjects
THE SHEAF, 1953 BY HENRI MATISSE The Sheaf, 1953 by Henri Matisse. Click Image to view detail. In 1909 Matisse received an important commission. An extremely wealthy Russian industrialist named Sergei Shchukin asked Matisse for three large scale canvases to decorate the spiral staircase of his mansion, the Trubetskoy Palace, in Moscow. The large and well loved painting, Dance L'ATELIER ROUGE, 1911 BY HENRI MATISSE L'Atelier Rouge (The Red Studio) features a small retrospective of Matisse's recent painting, sculpture, and ceramics, displayed in his studio. The artworks appear in color and in detail, while the room's architecture and furnishings are indicated only by negative gaps in the red surface. The composition's central axis is a grandfather clock LADY IN BLUE, 1938 BY HENRI MATISSE Lady in Blue, 1938 by Henri Matisse. Click Image to view detail. In Lady in Blue, Matisse missed the balance he had achieved. He wrote to fellow-artist Pierre Bonnard: "My drawing is what I need, since it expresses what is distinctive in my own feeling. But my painting is restricted by the new conventions of applying large zones of paint to SORROW OF THE KING, 1952 BY HENRI MATISSE Sorrow of the King, 1952 by Henri Matisse. Click Image to view detail. The Sorrows of the King was Matisse's final self portrait. This work refers to one of Rembrandt's paintings, David Playing the Harp before Saul, in which the young biblical hero plays to distract the king from his melancholy, as well as to Rembrandt's late self portraits. PAUL CEZANNE'S IMPACT ON HENRI MATISSE Paul Cezanne's Impact on Henri Matisse. After being steered towards it by Pissarro, Henri Matisse bought Cezanne's Three Bathers from Ambroise Vollard who, in turn, had acquired it directly from Paul Cezanne. Matisse could ill afford to spend money on other artists' works at the time, but was so moved by this piece that he signed apromissory
WINDOW IN TAHITI, 1935 BY HENRI MATISSE Window in Tahiti, 1935 by Henri Matisse. Click Image to view detail. During his visit to the South Seas, specifically Tahiti, Matisse did several remarkable drawings but no paintings. This was in 1930, just before he began work on the Barnes Dance. Hence it was not until five years after the trip that the artist sought to condense his LE LUXE I, 1907 BY HENRI MATISSE Le Luxe I, a full-size study for the final version in Copenhagen, is undoubtedly more "interesting" to the critic preoccupied with the evolution of Matisse's art.However, it is infinitely less complete, less "realized" than the more articulate, simplified, and compact statement of Le Luxe II, which remains one of the artist's most sereneimages.
THE PINK STUDIO, 1911 BY HENRI MATISSE The first impression received from Pink Studio is as jolting as that of its companion, Red Studio.The unheralded quality of the pink, which is not as all-pervasive as the red of the other, is in no way muted by the differing intensities applied to the floor and the wall, and the prominent areas of green and blue serve to reinforce its sumptuous luminosity, a quality significantly absent from THE PIANO LESSON, 1916 BY HENRI MATISSE The Piano Lesson depicts the living room of Matisse's home in Issy-les-Moulineaux, with his elder son, Pierre, at the piano, the artist's sculpture Decorative Figure (1908), at bottom left, and, at upper right, his painting Woman on a High Stool. Matisse began with a naturalistic drawing, but he eliminated detail as he worked, scraping down areas and rebuilding them in broad fields of color. CLAUDE MONT'S INFLUENCE ON HENRI MATISSE Claude Mont's influence on Henri Matisse. The Impressionists' desire to look at the world with a new freshness and immediacy continues to appeal to audiences today, making it the most popular style of painting in the world. The Impressionists were radical in their own time because "High Art" was supposed to depict gods, heroes and warssubjects
THE SHEAF, 1953 BY HENRI MATISSE The Sheaf, 1953 by Henri Matisse. Click Image to view detail. In 1909 Matisse received an important commission. An extremely wealthy Russian industrialist named Sergei Shchukin asked Matisse for three large scale canvases to decorate the spiral staircase of his mansion, the Trubetskoy Palace, in Moscow. The large and well loved painting, Dance L'ATELIER ROUGE, 1911 BY HENRI MATISSE L'Atelier Rouge (The Red Studio) features a small retrospective of Matisse's recent painting, sculpture, and ceramics, displayed in his studio. The artworks appear in color and in detail, while the room's architecture and furnishings are indicated only by negative gaps in the red surface. The composition's central axis is a grandfather clock LADY IN BLUE, 1938 BY HENRI MATISSE Lady in Blue, 1938 by Henri Matisse. Click Image to view detail. In Lady in Blue, Matisse missed the balance he had achieved. He wrote to fellow-artist Pierre Bonnard: "My drawing is what I need, since it expresses what is distinctive in my own feeling. But my painting is restricted by the new conventions of applying large zones of paint to SORROW OF THE KING, 1952 BY HENRI MATISSE Sorrow of the King, 1952 by Henri Matisse. Click Image to view detail. The Sorrows of the King was Matisse's final self portrait. This work refers to one of Rembrandt's paintings, David Playing the Harp before Saul, in which the young biblical hero plays to distract the king from his melancholy, as well as to Rembrandt's late self portraits. PAUL CEZANNE'S IMPACT ON HENRI MATISSE Paul Cezanne's Impact on Henri Matisse. After being steered towards it by Pissarro, Henri Matisse bought Cezanne's Three Bathers from Ambroise Vollard who, in turn, had acquired it directly from Paul Cezanne. Matisse could ill afford to spend money on other artists' works at the time, but was so moved by this piece that he signed apromissory
WINDOW IN TAHITI, 1935 BY HENRI MATISSE Window in Tahiti, 1935 by Henri Matisse. Click Image to view detail. During his visit to the South Seas, specifically Tahiti, Matisse did several remarkable drawings but no paintings. This was in 1930, just before he began work on the Barnes Dance. Hence it was not until five years after the trip that the artist sought to condense his THE PIANO LESSON, 1916 BY HENRI MATISSE The Piano Lesson depicts the living room of Matisse's home in Issy-les-Moulineaux, with his elder son, Pierre, at the piano, the artist's sculpture Decorative Figure (1908), at bottom left, and, at upper right, his painting Woman on a High Stool. Matisse began with a naturalistic drawing, but he eliminated detail as he worked, scraping down areas and rebuilding them in broad fields of color. CLAUDE MONT'S INFLUENCE ON HENRI MATISSE Claude Mont's influence on Henri Matisse. The Impressionists' desire to look at the world with a new freshness and immediacy continues to appeal to audiences today, making it the most popular style of painting in the world. The Impressionists were radical in their own time because "High Art" was supposed to depict gods, heroes and warssubjects
OPEN WINDOW, COLLIOURE, 1905 BY HENRI MATISSE Matisse's Open Window, Collioure is an icon of early modernism. A small but explosive work, it is celebrated as one of the most important early paintings of the so-called fauve school, a group of artists, including André Derain, Maurice de Vlaminck, and Georges Braque, that emerged in 1904.Fauve paintings are distinguished by a startling palette of saturated, unmixed colors and broad WINDOW IN TAHITI, 1935 BY HENRI MATISSE Window in Tahiti, 1935 by Henri Matisse. Click Image to view detail. During his visit to the South Seas, specifically Tahiti, Matisse did several remarkable drawings but no paintings. This was in 1930, just before he began work on the Barnes Dance. Hence it was not until five years after the trip that the artist sought to condense his ÉDOUARD MANET'S IMPACT ON HENRI MATISSE From the 1860s, Édouard Manet was the acknowledged leader of French avant-garde painting. Although he never exhibited with the Impressionists, his colorful images of modern life - subject matter that was unacceptable in the officially sanctioned world of traditional painting - ZORAH ON THE TERRACE, 1912 BY HENRI MATISSE Zorah on the Terrace, 1912 by Henri Matisse. Click Image to view detail. It was as if Matisse had at last accepted Baudelaire's Invitation au voyage when he undertook his two working trips to Tangier during 1911-13. Nor can these trips to a Muslim environment be dissociated from his profound appreciation of SORROW OF THE KING, 1952 BY HENRI MATISSE Sorrow of the King, 1952 by Henri Matisse. Click Image to view detail. The Sorrows of the King was Matisse's final self portrait. This work refers to one of Rembrandt's paintings, David Playing the Harp before Saul, in which the young biblical hero plays to distract the king from his melancholy, as well as to Rembrandt's late self portraits. LANDSCAPE WITH BROOK, 1907 BY HENRI MATISSE Landscape with Brook, 1907 by Henri Matisse. Click Image to view detail. Scenes painted from nature were of extreme importance in Matisse's early evolution, especially as he liberated himself from his earlier dark manner, first in the Breton trips of 1895-97 and then in his year spent in the south in 1898. STILL LIFE WITH APPLES ON PINK CLOTH, 1925 BY HENRI MATISSE Matisse's first painting, in 1890, was a still life (Books and Candle), and the theme ran through most of his career, frequently finding itself integrated into the larger interior studio pictures, notably Still Life with Aubergines and Interior with Phonograph.Its ultimate metamorphosis would come in the grand Snail.However, the painting of rather classical still life frequently enjoyed an WOMAN IN A PURPLE COAT, 1937 BY HENRI MATISSE The Woman in a Purple Coat, 1937 is a superb example of the use of color and light to express his emotions in life, not towards his model like some artists, but to life itself.Although there is not a single straight line, the way the colors juxtapose each other there is no need for a straight line. LE LUXE I, 1907 BY HENRI MATISSE Le Luxe I, a full-size study for the final version in Copenhagen, is undoubtedly more "interesting" to the critic preoccupied with the evolution of Matisse's art.However, it is infinitely less complete, less "realized" than the more articulate, simplified, and compact statement of Le Luxe II, which remains one of the artist's most sereneimages.
THE PIANO LESSON, 1916 BY HENRI MATISSE The Piano Lesson depicts the living room of Matisse's home in Issy-les-Moulineaux, with his elder son, Pierre, at the piano, the artist's sculpture Decorative Figure (1908), at bottom left, and, at upper right, his painting Woman on a High Stool. Matisse began with a naturalistic drawing, but he eliminated detail as he worked, scraping down areas and rebuilding them in broad fields of color. CLAUDE MONT'S INFLUENCE ON HENRI MATISSE The Impressionists' desire to look at the world with a new freshness and immediacy continues to appeal to audiences today, making it the most popular style of painting in the world. THE PINK STUDIO, 1911 BY HENRI MATISSE The first impression received from Pink Studio is as jolting as that of its companion, Red Studio.The unheralded quality of the pink, which is not as all-pervasive as the red of the other, is in no way muted by the differing intensities applied to the floor and the wall, and the prominent areas of green and blue serve to reinforce its sumptuous luminosity, a quality significantly absent from THE SHEAF, 1953 BY HENRI MATISSE In 1909 Matisse received an important commission. An extremely wealthy Russian industrialist named Sergei Shchukin asked Matisse for three large scale canvases to decorate the spiral staircase of his mansion, the Trubetskoy Palace, in Moscow. L'ATELIER ROUGE, 1911 BY HENRI MATISSE L'Atelier Rouge (The Red Studio) features a small retrospective of Matisse's recent painting, sculpture, and ceramics, displayed in his studio. The artworks appear in color and in detail, while the room's architecture and furnishings are indicated only by negative gaps inthe red surface.
SORROW OF THE KING, 1952 BY HENRI MATISSE The Sorrows of the King was Matisse's final self portrait. This work refers to one of Rembrandt's paintings, David Playing the Harp before Saul, in which the young biblical hero plays to distract the king from his melancholy, as well as to Rembrandt's late self portraits.Here Matisse depicts the themes of old age, of looking back towards earlier life (La vie antérieure, the title of a poem by YOUNG SAILOR, 1906 BY HENRI MATISSE Please note that www.HenriMatisse.org is a private website, unaffiliated with Henri Matisse or his representatives LADY IN BLUE, 1938 BY HENRI MATISSE In Lady in Blue, Matisse missed the balance he had achieved.He wrote to fellow-artist Pierre Bonnard: "My drawing is what I need, since it expresses what is distinctive in my own feeling. But my painting is restricted by the new conventions of applying large zones of paint to express myself - nothing but localized colours with neither shadow nor relief, that are supposed to suggest light and WINDOW IN TAHITI, 1935 BY HENRI MATISSE Unlike Le Luxe, here in Window in Tahiti the human figure has been banished, much as in the studio interiors of 1911. The foliage and clouds and the indications of a curtain on the left are of a curving pattern whose scale and weight is remarkably uniform throughout. LE LUXE I, 1907 BY HENRI MATISSE Le Luxe I, a full-size study for the final version in Copenhagen, is undoubtedly more "interesting" to the critic preoccupied with the evolution of Matisse's art.However, it is infinitely less complete, less "realized" than the more articulate, simplified, and compact statement of Le Luxe II, which remains one of the artist's most sereneimages.
THE PIANO LESSON, 1916 BY HENRI MATISSE The Piano Lesson depicts the living room of Matisse's home in Issy-les-Moulineaux, with his elder son, Pierre, at the piano, the artist's sculpture Decorative Figure (1908), at bottom left, and, at upper right, his painting Woman on a High Stool. Matisse began with a naturalistic drawing, but he eliminated detail as he worked, scraping down areas and rebuilding them in broad fields of color. CLAUDE MONT'S INFLUENCE ON HENRI MATISSE The Impressionists' desire to look at the world with a new freshness and immediacy continues to appeal to audiences today, making it the most popular style of painting in the world. THE PINK STUDIO, 1911 BY HENRI MATISSE The first impression received from Pink Studio is as jolting as that of its companion, Red Studio.The unheralded quality of the pink, which is not as all-pervasive as the red of the other, is in no way muted by the differing intensities applied to the floor and the wall, and the prominent areas of green and blue serve to reinforce its sumptuous luminosity, a quality significantly absent from THE SHEAF, 1953 BY HENRI MATISSE In 1909 Matisse received an important commission. An extremely wealthy Russian industrialist named Sergei Shchukin asked Matisse for three large scale canvases to decorate the spiral staircase of his mansion, the Trubetskoy Palace, in Moscow. L'ATELIER ROUGE, 1911 BY HENRI MATISSE L'Atelier Rouge (The Red Studio) features a small retrospective of Matisse's recent painting, sculpture, and ceramics, displayed in his studio. The artworks appear in color and in detail, while the room's architecture and furnishings are indicated only by negative gaps inthe red surface.
SORROW OF THE KING, 1952 BY HENRI MATISSE The Sorrows of the King was Matisse's final self portrait. This work refers to one of Rembrandt's paintings, David Playing the Harp before Saul, in which the young biblical hero plays to distract the king from his melancholy, as well as to Rembrandt's late self portraits.Here Matisse depicts the themes of old age, of looking back towards earlier life (La vie antérieure, the title of a poem by YOUNG SAILOR, 1906 BY HENRI MATISSE Please note that www.HenriMatisse.org is a private website, unaffiliated with Henri Matisse or his representatives LADY IN BLUE, 1938 BY HENRI MATISSE In Lady in Blue, Matisse missed the balance he had achieved.He wrote to fellow-artist Pierre Bonnard: "My drawing is what I need, since it expresses what is distinctive in my own feeling. But my painting is restricted by the new conventions of applying large zones of paint to express myself - nothing but localized colours with neither shadow nor relief, that are supposed to suggest light and WINDOW IN TAHITI, 1935 BY HENRI MATISSE Unlike Le Luxe, here in Window in Tahiti the human figure has been banished, much as in the studio interiors of 1911. The foliage and clouds and the indications of a curtain on the left are of a curving pattern whose scale and weight is remarkably uniform throughout. THE PIANO LESSON, 1916 BY HENRI MATISSE The Piano Lesson depicts the living room of Matisse's home in Issy-les-Moulineaux, with his elder son, Pierre, at the piano, the artist's sculpture Decorative Figure (1908), at bottom left, and, at upper right, his painting Woman on a High Stool. Matisse began with a naturalistic drawing, but he eliminated detail as he worked, scraping down areas and rebuilding them in broad fields of color. CLAUDE MONT'S INFLUENCE ON HENRI MATISSE The Impressionists' desire to look at the world with a new freshness and immediacy continues to appeal to audiences today, making it the most popular style of painting in the world. OPEN WINDOW, COLLIOURE, 1905 BY HENRI MATISSE Matisse's Open Window, Collioure is an icon of early modernism. A small but explosive work, it is celebrated as one of the most important early paintings of the so-called fauve school, a group of artists, including André Derain, Maurice de Vlaminck, and Georges Braque, that emerged in 1904.Fauve paintings are distinguished by a startling palette of saturated, unmixed colors and broad SORROW OF THE KING, 1952 BY HENRI MATISSE The Sorrows of the King was Matisse's final self portrait. This work refers to one of Rembrandt's paintings, David Playing the Harp before Saul, in which the young biblical hero plays to distract the king from his melancholy, as well as to Rembrandt's late self portraits.Here Matisse depicts the themes of old age, of looking back towards earlier life (La vie antérieure, the title of a poem by VIEW OF NOTRE-DAME, 1914 BY HENRI MATISSE On 3rd August, 1914, the First World War broke out. Matisse was in Pans, and was terrified. The family home was destroyed in the German attack, and Matisse could get no news of his mother, who was confined to Bohain, or of his brother, who had been taken away by the Germans along with all the other menfolk of the village. WINDOW IN TAHITI, 1935 BY HENRI MATISSE Unlike Le Luxe, here in Window in Tahiti the human figure has been banished, much as in the studio interiors of 1911. The foliage and clouds and the indications of a curtain on the left are of a curving pattern whose scale and weight is remarkably uniform throughout. ZORAH ON THE TERRACE, 1912 BY HENRI MATISSE It was as if Matisse had at last accepted Baudelaire's Invitation au voyage when he undertook his two working trips to Tangier during1911-13.
LANDSCAPE WITH BROOK, 1907 BY HENRI MATISSE Scenes painted from nature were of extreme importance in Matisse's early evolution, especially as he liberated himself from his earlier dark manner, first in the Breton trips of 1895-97 and then in his year spent in the south in 1898. STILL LIFE WITH APPLES ON PINK CLOTH, 1925 BY HENRI MATISSE Matisse's first painting, in 1890, was a still life (Books and Candle), and the theme ran through most of his career, frequently finding itself integrated into the larger interior studio pictures, notably Still Life with Aubergines and Interior with Phonograph.Its ultimate metamorphosis would come in the grand Snail.However, the painting of rather classical still life frequently enjoyed an WOMAN IN A PURPLE COAT, 1937 BY HENRI MATISSE The Woman in a Purple Coat, 1937 is a superb example of the use of color and light to express his emotions in life, not towards his model like some artists, but to life itself.Although there is not a single straight line, the way the colors juxtapose each other there is no need for a straight line. LE LUXE I, 1907 BY HENRI MATISSE Le Luxe I, a full-size study for the final version in Copenhagen, is undoubtedly more "interesting" to the critic preoccupied with the evolution of Matisse's art.However, it is infinitely less complete, less "realized" than the more articulate, simplified, and compact statement of Le Luxe II, which remains one of the artist's most sereneimages.
THE PIANO LESSON, 1916 BY HENRI MATISSE The Piano Lesson depicts the living room of Matisse's home in Issy-les-Moulineaux, with his elder son, Pierre, at the piano, the artist's sculpture Decorative Figure (1908), at bottom left, and, at upper right, his painting Woman on a High Stool. Matisse began with a naturalistic drawing, but he eliminated detail as he worked, scraping down areas and rebuilding them in broad fields of color. THE SHEAF, 1953 BY HENRI MATISSE In 1909 Matisse received an important commission. An extremely wealthy Russian industrialist named Sergei Shchukin asked Matisse for three large scale canvases to decorate the spiral staircase of his mansion, the Trubetskoy Palace, in Moscow. THE PINK STUDIO, 1911 BY HENRI MATISSE The first impression received from Pink Studio is as jolting as that of its companion, Red Studio.The unheralded quality of the pink, which is not as all-pervasive as the red of the other, is in no way muted by the differing intensities applied to the floor and the wall, and the prominent areas of green and blue serve to reinforce its sumptuous luminosity, a quality significantly absent from L'ATELIER ROUGE, 1911 BY HENRI MATISSE L'Atelier Rouge (The Red Studio) features a small retrospective of Matisse's recent painting, sculpture, and ceramics, displayed in his studio. The artworks appear in color and in detail, while the room's architecture and furnishings are indicated only by negative gaps inthe red surface.
LADY IN BLUE, 1938 BY HENRI MATISSE In Lady in Blue, Matisse missed the balance he had achieved.He wrote to fellow-artist Pierre Bonnard: "My drawing is what I need, since it expresses what is distinctive in my own feeling. But my painting is restricted by the new conventions of applying large zones of paint to express myself - nothing but localized colours with neither shadow nor relief, that are supposed to suggest light and SORROW OF THE KING, 1952 BY HENRI MATISSE The Sorrows of the King was Matisse's final self portrait. This work refers to one of Rembrandt's paintings, David Playing the Harp before Saul, in which the young biblical hero plays to distract the king from his melancholy, as well as to Rembrandt's late self portraits.Here Matisse depicts the themes of old age, of looking back towards earlier life (La vie antérieure, the title of a poem by PAUL CEZANNE'S IMPACT ON HENRI MATISSE After being steered towards it by Pissarro, Henri Matisse bought Cezanne's Three Bathers from Ambroise Vollard who, in turn, had acquired it directly from Paul Cezanne.Matisse could ill afford to spend money on other artists' works at the time, but was so moved by this piece that he signed a promissory note to Vollard for 1,200 francs in December of 1899. YOUNG SAILOR, 1906 BY HENRI MATISSE Please note that www.HenriMatisse.org is a private website, unaffiliated with Henri Matisse or his representatives WINDOW IN TAHITI, 1935 BY HENRI MATISSE Unlike Le Luxe, here in Window in Tahiti the human figure has been banished, much as in the studio interiors of 1911. The foliage and clouds and the indications of a curtain on the left are of a curving pattern whose scale and weight is remarkably uniform throughout. LE LUXE I, 1907 BY HENRI MATISSE Le Luxe I, a full-size study for the final version in Copenhagen, is undoubtedly more "interesting" to the critic preoccupied with the evolution of Matisse's art.However, it is infinitely less complete, less "realized" than the more articulate, simplified, and compact statement of Le Luxe II, which remains one of the artist's most sereneimages.
THE PIANO LESSON, 1916 BY HENRI MATISSE The Piano Lesson depicts the living room of Matisse's home in Issy-les-Moulineaux, with his elder son, Pierre, at the piano, the artist's sculpture Decorative Figure (1908), at bottom left, and, at upper right, his painting Woman on a High Stool. Matisse began with a naturalistic drawing, but he eliminated detail as he worked, scraping down areas and rebuilding them in broad fields of color. THE SHEAF, 1953 BY HENRI MATISSE In 1909 Matisse received an important commission. An extremely wealthy Russian industrialist named Sergei Shchukin asked Matisse for three large scale canvases to decorate the spiral staircase of his mansion, the Trubetskoy Palace, in Moscow. THE PINK STUDIO, 1911 BY HENRI MATISSE The first impression received from Pink Studio is as jolting as that of its companion, Red Studio.The unheralded quality of the pink, which is not as all-pervasive as the red of the other, is in no way muted by the differing intensities applied to the floor and the wall, and the prominent areas of green and blue serve to reinforce its sumptuous luminosity, a quality significantly absent from L'ATELIER ROUGE, 1911 BY HENRI MATISSE L'Atelier Rouge (The Red Studio) features a small retrospective of Matisse's recent painting, sculpture, and ceramics, displayed in his studio. The artworks appear in color and in detail, while the room's architecture and furnishings are indicated only by negative gaps inthe red surface.
LADY IN BLUE, 1938 BY HENRI MATISSE In Lady in Blue, Matisse missed the balance he had achieved.He wrote to fellow-artist Pierre Bonnard: "My drawing is what I need, since it expresses what is distinctive in my own feeling. But my painting is restricted by the new conventions of applying large zones of paint to express myself - nothing but localized colours with neither shadow nor relief, that are supposed to suggest light and SORROW OF THE KING, 1952 BY HENRI MATISSE The Sorrows of the King was Matisse's final self portrait. This work refers to one of Rembrandt's paintings, David Playing the Harp before Saul, in which the young biblical hero plays to distract the king from his melancholy, as well as to Rembrandt's late self portraits.Here Matisse depicts the themes of old age, of looking back towards earlier life (La vie antérieure, the title of a poem by PAUL CEZANNE'S IMPACT ON HENRI MATISSE After being steered towards it by Pissarro, Henri Matisse bought Cezanne's Three Bathers from Ambroise Vollard who, in turn, had acquired it directly from Paul Cezanne.Matisse could ill afford to spend money on other artists' works at the time, but was so moved by this piece that he signed a promissory note to Vollard for 1,200 francs in December of 1899. YOUNG SAILOR, 1906 BY HENRI MATISSE Please note that www.HenriMatisse.org is a private website, unaffiliated with Henri Matisse or his representatives WINDOW IN TAHITI, 1935 BY HENRI MATISSE Unlike Le Luxe, here in Window in Tahiti the human figure has been banished, much as in the studio interiors of 1911. The foliage and clouds and the indications of a curtain on the left are of a curving pattern whose scale and weight is remarkably uniform throughout. PORTRAIT OF MADAME MATISSE, 1913 BY HENRI MATISSE All his life Matisse drove his models as well as himself to the limits of endurance. He insisted it was better to risk ruining a painting than be satisfied with a surface likeness. CLAUDE MONT'S INFLUENCE ON HENRI MATISSE The Impressionists' desire to look at the world with a new freshness and immediacy continues to appeal to audiences today, making it the most popular style of painting in the world. SORROW OF THE KING, 1952 BY HENRI MATISSE The Sorrows of the King was Matisse's final self portrait. This work refers to one of Rembrandt's paintings, David Playing the Harp before Saul, in which the young biblical hero plays to distract the king from his melancholy, as well as to Rembrandt's late self portraits.Here Matisse depicts the themes of old age, of looking back towards earlier life (La vie antérieure, the title of a poem by OPEN WINDOW, COLLIOURE, 1905 BY HENRI MATISSE Matisse's Open Window, Collioure is an icon of early modernism. A small but explosive work, it is celebrated as one of the most important early paintings of the so-called fauve school, a group of artists, including André Derain, Maurice de Vlaminck, and Georges Braque, that emerged in 1904.Fauve paintings are distinguished by a startling palette of saturated, unmixed colors and broad WINDOW IN TAHITI, 1935 BY HENRI MATISSE Unlike Le Luxe, here in Window in Tahiti the human figure has been banished, much as in the studio interiors of 1911. The foliage and clouds and the indications of a curtain on the left are of a curving pattern whose scale and weight is remarkably uniform throughout. VIEW OF NOTRE-DAME, 1914 BY HENRI MATISSE On 3rd August, 1914, the First World War broke out. Matisse was in Pans, and was terrified. The family home was destroyed in the German attack, and Matisse could get no news of his mother, who was confined to Bohain, or of his brother, who had been taken away by the Germans along with all the other menfolk of the village. ZORAH ON THE TERRACE, 1912 BY HENRI MATISSE It was as if Matisse had at last accepted Baudelaire's Invitation au voyage when he undertook his two working trips to Tangier during1911-13.
THE SNAIL, 1953 BY HENRI MATISSE Matisse told André Verdet. I first of all drew the snail from nature, holding it. I became aware of an unrolling, I found an image in my mind purified of the shell, then I took the scissors". WOMAN IN A PURPLE COAT, 1937 BY HENRI MATISSE The Woman in a Purple Coat, 1937 is a superb example of the use of color and light to express his emotions in life, not towards his model like some artists, but to life itself.Although there is not a single straight line, the way the colors juxtapose each other there is no need for a straight line. LANDSCAPE WITH BROOK, 1907 BY HENRI MATISSE Scenes painted from nature were of extreme importance in Matisse's early evolution, especially as he liberated himself from his earlier dark manner, first in the Breton trips of 1895-97 and then in his year spent in the south in 1898. PORTRAIT OF MADAME MATISSE, 1913 BY HENRI MATISSE Even the boldest, Matisse's student Greta Moll, was horrified to find her features discolored and her limbs distorted on Matisse's canvas. Amélie herself wept in distress when she saw the last painting he ever made of her, the grave and beautiful Portrait of Madame Matisse of 1913, with stony black eyes set in a delicate masklike gray face. LE LUXE I, 1907 BY HENRI MATISSE Le Luxe I, a full-size study for the final version in Copenhagen, is undoubtedly more "interesting" to the critic preoccupied with the evolution of Matisse's art.However, it is infinitely less complete, less "realized" than the more articulate, simplified, and compact statement of Le Luxe II, which remains one of the artist's most sereneimages.
HENRI MATISSE AND FAUVISM Henri Matisse and Fauvism. Fauvism was the first of the avant-garde movements that flourished in France in the early years of the twentieth century. The Fauve painters were the first to break with Impressionism (leading artist: Claude Monet) as well as with older, traditional methods of perception. Their spontaneous, often subjectiveresponse
SORROW OF THE KING, 1952 BY HENRI MATISSE Sorrow of the King, 1952 by Henri Matisse. Click Image to view detail. The Sorrows of the King was Matisse's final self portrait. This work refers to one of Rembrandt's paintings, David Playing the Harp before Saul, in which the young biblical hero plays to distract the king from his melancholy, as well as to Rembrandt's late self portraits. THE PINK STUDIO, 1911 BY HENRI MATISSE The first impression received from Pink Studio is as jolting as that of its companion, Red Studio.The unheralded quality of the pink, which is not as all-pervasive as the red of the other, is in no way muted by the differing intensities applied to the floor and the wall, and the prominent areas of green and blue serve to reinforce its sumptuous luminosity, a quality significantly absent from THE SHEAF, 1953 BY HENRI MATISSE The Sheaf, 1953 by Henri Matisse. Click Image to view detail. In 1909 Matisse received an important commission. An extremely wealthy Russian industrialist named Sergei Shchukin asked Matisse for three large scale canvases to decorate the spiral staircase of his mansion, the Trubetskoy Palace, in Moscow. The large and well loved painting, Dance THE PIANO LESSON, 1916 BY HENRI MATISSE The Piano Lesson depicts the living room of Matisse's home in Issy-les-Moulineaux, with his elder son, Pierre, at the piano, the artist's sculpture Decorative Figure (1908), at bottom left, and, at upper right, his painting Woman on a High Stool. Matisse began with a naturalistic drawing, but he eliminated detail as he worked, scraping down areas and rebuilding them in broad fields of color. L'ATELIER ROUGE, 1911 BY HENRI MATISSE L'Atelier Rouge (The Red Studio) features a small retrospective of Matisse's recent painting, sculpture, and ceramics, displayed in his studio. The artworks appear in color and in detail, while the room's architecture and furnishings are indicated only by negative gaps in the red surface. The composition's central axis is a grandfather clock JOY OF LIFE (BONHEUR DE VIVRE), 1905 BY HENRI MATISSE Joy of Life is a large-scale painting (nearly 6 feet in height, 8 feet in width), depicting an Arcadian landscape filled with brilliantly colored forest, meadow, sea, and sky and populated by nude figures both at rest and in motion. As with the earlier Fauve canvases, color is responsive only to emotional expression and the formal needs of the LADY IN BLUE, 1938 BY HENRI MATISSE Lady in Blue, 1938 by Henri Matisse. Click Image to view detail. In Lady in Blue, Matisse missed the balance he had achieved. He wrote to fellow-artist Pierre Bonnard: "My drawing is what I need, since it expresses what is distinctive in my own feeling. But my painting is restricted by the new conventions of applying large zones of paint to PORTRAIT OF MADAME MATISSE, 1913 BY HENRI MATISSE Even the boldest, Matisse's student Greta Moll, was horrified to find her features discolored and her limbs distorted on Matisse's canvas. Amélie herself wept in distress when she saw the last painting he ever made of her, the grave and beautiful Portrait of Madame Matisse of 1913, with stony black eyes set in a delicate masklike gray face. LE LUXE I, 1907 BY HENRI MATISSE Le Luxe I, a full-size study for the final version in Copenhagen, is undoubtedly more "interesting" to the critic preoccupied with the evolution of Matisse's art.However, it is infinitely less complete, less "realized" than the more articulate, simplified, and compact statement of Le Luxe II, which remains one of the artist's most sereneimages.
HENRI MATISSE AND FAUVISM Henri Matisse and Fauvism. Fauvism was the first of the avant-garde movements that flourished in France in the early years of the twentieth century. The Fauve painters were the first to break with Impressionism (leading artist: Claude Monet) as well as with older, traditional methods of perception. Their spontaneous, often subjectiveresponse
SORROW OF THE KING, 1952 BY HENRI MATISSE Sorrow of the King, 1952 by Henri Matisse. Click Image to view detail. The Sorrows of the King was Matisse's final self portrait. This work refers to one of Rembrandt's paintings, David Playing the Harp before Saul, in which the young biblical hero plays to distract the king from his melancholy, as well as to Rembrandt's late self portraits. THE PINK STUDIO, 1911 BY HENRI MATISSE The first impression received from Pink Studio is as jolting as that of its companion, Red Studio.The unheralded quality of the pink, which is not as all-pervasive as the red of the other, is in no way muted by the differing intensities applied to the floor and the wall, and the prominent areas of green and blue serve to reinforce its sumptuous luminosity, a quality significantly absent from THE SHEAF, 1953 BY HENRI MATISSE The Sheaf, 1953 by Henri Matisse. Click Image to view detail. In 1909 Matisse received an important commission. An extremely wealthy Russian industrialist named Sergei Shchukin asked Matisse for three large scale canvases to decorate the spiral staircase of his mansion, the Trubetskoy Palace, in Moscow. The large and well loved painting, Dance THE PIANO LESSON, 1916 BY HENRI MATISSE The Piano Lesson depicts the living room of Matisse's home in Issy-les-Moulineaux, with his elder son, Pierre, at the piano, the artist's sculpture Decorative Figure (1908), at bottom left, and, at upper right, his painting Woman on a High Stool. Matisse began with a naturalistic drawing, but he eliminated detail as he worked, scraping down areas and rebuilding them in broad fields of color. L'ATELIER ROUGE, 1911 BY HENRI MATISSE L'Atelier Rouge (The Red Studio) features a small retrospective of Matisse's recent painting, sculpture, and ceramics, displayed in his studio. The artworks appear in color and in detail, while the room's architecture and furnishings are indicated only by negative gaps in the red surface. The composition's central axis is a grandfather clock JOY OF LIFE (BONHEUR DE VIVRE), 1905 BY HENRI MATISSE Joy of Life is a large-scale painting (nearly 6 feet in height, 8 feet in width), depicting an Arcadian landscape filled with brilliantly colored forest, meadow, sea, and sky and populated by nude figures both at rest and in motion. As with the earlier Fauve canvases, color is responsive only to emotional expression and the formal needs of the LADY IN BLUE, 1938 BY HENRI MATISSE Lady in Blue, 1938 by Henri Matisse. Click Image to view detail. In Lady in Blue, Matisse missed the balance he had achieved. He wrote to fellow-artist Pierre Bonnard: "My drawing is what I need, since it expresses what is distinctive in my own feeling. But my painting is restricted by the new conventions of applying large zones of paint to THE PIANO LESSON, 1916 BY HENRI MATISSE The Piano Lesson depicts the living room of Matisse's home in Issy-les-Moulineaux, with his elder son, Pierre, at the piano, the artist's sculpture Decorative Figure (1908), at bottom left, and, at upper right, his painting Woman on a High Stool. Matisse began with a naturalistic drawing, but he eliminated detail as he worked, scraping down areas and rebuilding them in broad fields of color. JOY OF LIFE (BONHEUR DE VIVRE), 1905 BY HENRI MATISSE Joy of Life is a large-scale painting (nearly 6 feet in height, 8 feet in width), depicting an Arcadian landscape filled with brilliantly colored forest, meadow, sea, and sky and populated by nude figures both at rest and in motion. As with the earlier Fauve canvases, color is responsive only to emotional expression and the formal needs of the MUSIC, 1910 BY HENRI MATISSE The pipe player, second from left in the 1910 Music, evokes a recumbent figure from Joy of Life, but for the rest this is a unique effort. The evolutionary changes which affect chiefly the three figures to the right lead to a bold frontality. In the completed picture they become, as it were, notes on a staff of music (as doesthe pipe player
CLAUDE MONT'S INFLUENCE ON HENRI MATISSE Claude Mont's influence on Henri Matisse. The Impressionists' desire to look at the world with a new freshness and immediacy continues to appeal to audiences today, making it the most popular style of painting in the world. The Impressionists were radical in their own time because "High Art" was supposed to depict gods, heroes and warssubjects
WOMAN READING, 1894 BY HENRI MATISSE Woman Reading is produced by Henri Matisse in 1894, and it became his first real breakthrough with critics and the public: he exhibited it in 1896 at the Salon du Champ-de-Mars. The artwork, which is painted with oil on canvas, is owned by the Museum of Modern Art in Paris. The painting shows a calm and tranquil scene: a woman, shown with her back to the viewer, sits in a chair reading a book PAUL CEZANNE'S IMPACT ON HENRI MATISSE After being steered towards it by Pissarro, Henri Matisse bought Cezanne's Three Bathers from Ambroise Vollard who, in turn, had acquired it directly from Paul Cezanne.Matisse could ill afford to spend money on other artists' works at the time, but was so moved by this piece that he signed a promissory note to Vollard for 1,200 francs in December of 1899. WOMAN WITH A HAT (FEMME AU CHAPEAU), 1905 BY HENRI MATISSE First exhibited at the 1905 Salon d'Automne in Paris, Women with a Hat (Femme au chapeau) was at the center of the controversy that led to the christening of the first modern art movement of the twentieth century - Fauvism. The term fauve ("wild beast"), coined by an art critic, became forever associated with the artists who exhibited their brightly colored canvases in the central gallery ZORAH ON THE TERRACE, 1912 BY HENRI MATISSE Zorah on the Terrace, 1912 by Henri Matisse. Click Image to view detail. It was as if Matisse had at last accepted Baudelaire's Invitation au voyage when he undertook his two working trips to Tangier during 1911-13. Nor can these trips to a Muslim environment be dissociated from his profound appreciation of WOMAN IN A PURPLE COAT, 1937 BY HENRI MATISSE Woman in a Purple Coat, 1937 by Henri Matisse. Click Image to view detail. Lydia Delectorskaya, Matisse's model for Woman in a Purple Coat and caretaker in his final years, was a Russian from Siberia who fled from Russia during the 1917 revolution, and who on her own account said she was much more different than the other models he usedwith
PORTRAIT OF LYDIA DELECTORSKAYA, 1947 BY HENRI MATISSE Portrait of Lydia Delectorskaya, 1947 by Henri Matisse. Click Image to view detail. Lydia Delectorskaya was born in 1910, the only child of a doctor (whom she adored), Lydia had been orphaned and forced to flee Russia in the turmoil after the 1917 revolution, ending up a pennilessexile in Nice.
OPEN WINDOW, COLLIOURE, 1905 BY HENRI MATISSESEE MORE ONHENRIMATISSE.ORG
THE SHEAF, 1953 BY HENRI MATISSEDEFINE SHEAFGOLDEN SHEAFMATISSE THESHEAF
The Sheaf, 1953 by Henri Matisse. Click Image to view detail. In 1909 Matisse received an important commission. An extremely wealthy Russian industrialist named Sergei Shchukin asked Matisse for three large scale canvases to decorate the spiral staircase of his mansion, the Trubetskoy Palace, in Moscow. The large and well loved painting, Dance LE LUXE I, 1907 BY HENRI MATISSEHENRI MATISSE S SON JEAN MATISSELUXE CALME ET VOLUPTE POEMLUXE CALME ET VOLUPTE TRANSLATIONMATISSE LE LUXE Le Luxe I, a full-size study for the final version in Copenhagen, is undoubtedly more "interesting" to the critic preoccupied with the evolution of Matisse's art.However, it is infinitely less complete, less "realized" than the more articulate, simplified, and compact statement of Le Luxe II, which remains one of the artist's most sereneimages.
JOY OF LIFE (BONHEUR DE VIVRE), 1905 BY HENRI MATISSE Joy of Life is a large-scale painting (nearly 6 feet in height, 8 feet in width), depicting an Arcadian landscape filled with brilliantly colored forest, meadow, sea, and sky and populated by nude figures both at rest and in motion. As with the earlier Fauve canvases, color is responsive only to emotional expression and the formal needs of the THE SNAIL, 1953 BY HENRI MATISSE The Snail, 1953 by Henri Matisse. Click Image to view detail. After 1948 Matisse was prevented from painting by ill health but, although confined to bed, he produced a number of works known as gouaches découpées. These were made by cutting or tearing shapes from paper which had been painted with gouache. The shapes were placed and pasteddown
L'ATELIER ROUGE, 1911 BY HENRI MATISSE L'Atelier Rouge (The Red Studio) features a small retrospective of Matisse's recent painting, sculpture, and ceramics, displayed in his studio. The artworks appear in color and in detail, while the room's architecture and furnishings are indicated only by negative gaps in the red surface. The composition's central axis is a grandfather clock SORROW OF THE KING, 1952 BY HENRI MATISSE Sorrow of the King, 1952 by Henri Matisse. Click Image to view detail. The Sorrows of the King was Matisse's final self portrait. This work refers to one of Rembrandt's paintings, David Playing the Harp before Saul, in which the young biblical hero plays to distract the king from his melancholy, as well as to Rembrandt's late self portraits. PAUL CEZANNE'S IMPACT ON HENRI MATISSEHENRI MATISSE ARTISTHENRI MATISSE ARTWORKSHENRI MATISSE BORNHENRI MATISSE HISTORYHENRI MATISSE PAINTINGHENRI MATISSE PORTRAIT Paul Cezanne's Impact on Henri Matisse. After being steered towards it by Pissarro, Henri Matisse bought Cezanne's Three Bathers from Ambroise Vollard who, in turn, had acquired it directly from Paul Cezanne. Matisse could ill afford to spend money on other artists' works at the time, but was so moved by this piece that he signed apromissory
LADY IN BLUE, 1938 BY HENRI MATISSE Lady in Blue, 1938 by Henri Matisse. Click Image to view detail. In Lady in Blue, Matisse missed the balance he had achieved. He wrote to fellow-artist Pierre Bonnard: "My drawing is what I need, since it expresses what is distinctive in my own feeling. But my painting is restricted by the new conventions of applying large zones of paint to WOMAN IN A PURPLE COAT, 1937 BY HENRI MATISSE Woman in a Purple Coat, 1937 by Henri Matisse. Click Image to view detail. Lydia Delectorskaya, Matisse's model for Woman in a Purple Coat and caretaker in his final years, was a Russian from Siberia who fled from Russia during the 1917 revolution, and who on her own account said she was much more different than the other models he usedwith
OPEN WINDOW, COLLIOURE, 1905 BY HENRI MATISSESEE MORE ONHENRIMATISSE.ORG
THE SHEAF, 1953 BY HENRI MATISSEDEFINE SHEAFGOLDEN SHEAFMATISSE THESHEAF
The Sheaf, 1953 by Henri Matisse. Click Image to view detail. In 1909 Matisse received an important commission. An extremely wealthy Russian industrialist named Sergei Shchukin asked Matisse for three large scale canvases to decorate the spiral staircase of his mansion, the Trubetskoy Palace, in Moscow. The large and well loved painting, Dance LE LUXE I, 1907 BY HENRI MATISSEHENRI MATISSE S SON JEAN MATISSELUXE CALME ET VOLUPTE POEMLUXE CALME ET VOLUPTE TRANSLATIONMATISSE LE LUXE Le Luxe I, a full-size study for the final version in Copenhagen, is undoubtedly more "interesting" to the critic preoccupied with the evolution of Matisse's art.However, it is infinitely less complete, less "realized" than the more articulate, simplified, and compact statement of Le Luxe II, which remains one of the artist's most sereneimages.
JOY OF LIFE (BONHEUR DE VIVRE), 1905 BY HENRI MATISSE Joy of Life is a large-scale painting (nearly 6 feet in height, 8 feet in width), depicting an Arcadian landscape filled with brilliantly colored forest, meadow, sea, and sky and populated by nude figures both at rest and in motion. As with the earlier Fauve canvases, color is responsive only to emotional expression and the formal needs of the THE SNAIL, 1953 BY HENRI MATISSE The Snail, 1953 by Henri Matisse. Click Image to view detail. After 1948 Matisse was prevented from painting by ill health but, although confined to bed, he produced a number of works known as gouaches découpées. These were made by cutting or tearing shapes from paper which had been painted with gouache. The shapes were placed and pasteddown
L'ATELIER ROUGE, 1911 BY HENRI MATISSE L'Atelier Rouge (The Red Studio) features a small retrospective of Matisse's recent painting, sculpture, and ceramics, displayed in his studio. The artworks appear in color and in detail, while the room's architecture and furnishings are indicated only by negative gaps in the red surface. The composition's central axis is a grandfather clock PAUL CEZANNE'S IMPACT ON HENRI MATISSEHENRI MATISSE ARTISTHENRI MATISSE ARTWORKSHENRI MATISSE BORNHENRI MATISSE HISTORYHENRI MATISSE PAINTINGHENRI MATISSE PORTRAIT Paul Cezanne's Impact on Henri Matisse. After being steered towards it by Pissarro, Henri Matisse bought Cezanne's Three Bathers from Ambroise Vollard who, in turn, had acquired it directly from Paul Cezanne. Matisse could ill afford to spend money on other artists' works at the time, but was so moved by this piece that he signed apromissory
SORROW OF THE KING, 1952 BY HENRI MATISSE Sorrow of the King, 1952 by Henri Matisse. Click Image to view detail. The Sorrows of the King was Matisse's final self portrait. This work refers to one of Rembrandt's paintings, David Playing the Harp before Saul, in which the young biblical hero plays to distract the king from his melancholy, as well as to Rembrandt's late self portraits. LADY IN BLUE, 1938 BY HENRI MATISSE Lady in Blue, 1938 by Henri Matisse. Click Image to view detail. In Lady in Blue, Matisse missed the balance he had achieved. He wrote to fellow-artist Pierre Bonnard: "My drawing is what I need, since it expresses what is distinctive in my own feeling. But my painting is restricted by the new conventions of applying large zones of paint to WOMAN IN A PURPLE COAT, 1937 BY HENRI MATISSE Woman in a Purple Coat, 1937 by Henri Matisse. Click Image to view detail. Lydia Delectorskaya, Matisse's model for Woman in a Purple Coat and caretaker in his final years, was a Russian from Siberia who fled from Russia during the 1917 revolution, and who on her own account said she was much more different than the other models he usedwith
JOY OF LIFE (BONHEUR DE VIVRE), 1905 BY HENRI MATISSE Joy of Life is a large-scale painting (nearly 6 feet in height, 8 feet in width), depicting an Arcadian landscape filled with brilliantly colored forest, meadow, sea, and sky and populated by nude figures both at rest and in motion. As with the earlier Fauve canvases, color is responsive only to emotional expression and the formal needs of the HENRI MATISSE AND FAUVISM Henri Matisse and Fauvism. Fauvism was the first of the avant-garde movements that flourished in France in the early years of the twentieth century. The Fauve painters were the first to break with Impressionism (leading artist: Claude Monet) as well as with older, traditional methods of perception. Their spontaneous, often subjectiveresponse
CLAUDE MONT'S INFLUENCE ON HENRI MATISSE Claude Mont's influence on Henri Matisse. The Impressionists' desire to look at the world with a new freshness and immediacy continues to appeal to audiences today, making it the most popular style of painting in the world. The Impressionists were radical in their own time because "High Art" was supposed to depict gods, heroes and warssubjects
THE PINK STUDIO, 1911 BY HENRI MATISSE The first impression received from Pink Studio is as jolting as that of its companion, Red Studio.The unheralded quality of the pink, which is not as all-pervasive as the red of the other, is in no way muted by the differing intensities applied to the floor and the wall, and the prominent areas of green and blue serve to reinforce its sumptuous luminosity, a quality significantly absent from THE SNAIL, 1953 BY HENRI MATISSE The Snail, 1953 by Henri Matisse. Click Image to view detail. After 1948 Matisse was prevented from painting by ill health but, although confined to bed, he produced a number of works known as gouaches découpées. These were made by cutting or tearing shapes from paper which had been painted with gouache. The shapes were placed and pasteddown
THE PIANO LESSON, 1916 BY HENRI MATISSE The Piano Lesson depicts the living room of Matisse's home in Issy-les-Moulineaux, with his elder son, Pierre, at the piano, the artist's sculpture Decorative Figure (1908), at bottom left, and, at upper right, his painting Woman on a High Stool. Matisse began with a naturalistic drawing, but he eliminated detail as he worked, scraping down areas and rebuilding them in broad fields of color. LADY IN BLUE, 1938 BY HENRI MATISSE Lady in Blue, 1938 by Henri Matisse. Click Image to view detail. In Lady in Blue, Matisse missed the balance he had achieved. He wrote to fellow-artist Pierre Bonnard: "My drawing is what I need, since it expresses what is distinctive in my own feeling. But my painting is restricted by the new conventions of applying large zones of paint to LUXE, CALME ET VOLUPTÉ, 1904 BY HENRI MATISSE Luxe, Calme et Volupté takes its name from the refrain of Charles Baudelaire's poem, Invitation to a Voyage (1857), in which a man invites his lover to travel with him to paradise. The painting shares the poem's subject: escape to an imaginary, tranquil refuge. From late 1899, Matisse spent a great deal of time in the museums, but also in avantgarde galleries such as Ambroise Vollard's YOUNG SAILOR, 1906 BY HENRI MATISSE Matisse painted The Young Sailor in 1906, at the height of his involvement with the Fauves. The sitter of this picture is an eighteen-year-old fisherman, Germain Augustin Barthélémy Montargès, from the small Mediterranean village of Collioure, near the Spanish border. Against the flat, bright pink background, Germain wearstypical fisherman
WINDOW IN TAHITI, 1935 BY HENRI MATISSE Window in Tahiti, 1935 by Henri Matisse. Click Image to view detail. During his visit to the South Seas, specifically Tahiti, Matisse did several remarkable drawings but no paintings. This was in 1930, just before he began work on the Barnes Dance. Hence it was not until five years after the trip that the artist sought to condense his OPEN WINDOW, COLLIOURE, 1905 BY HENRI MATISSESEE MORE ONHENRIMATISSE.ORG
THE SHEAF, 1953 BY HENRI MATISSEDEFINE SHEAFGOLDEN SHEAFMATISSE THESHEAF
The Sheaf, 1953 by Henri Matisse. Click Image to view detail. In 1909 Matisse received an important commission. An extremely wealthy Russian industrialist named Sergei Shchukin asked Matisse for three large scale canvases to decorate the spiral staircase of his mansion, the Trubetskoy Palace, in Moscow. The large and well loved painting, Dance LE LUXE I, 1907 BY HENRI MATISSEHENRI MATISSE S SON JEAN MATISSELUXE CALME ET VOLUPTE POEMLUXE CALME ET VOLUPTE TRANSLATIONMATISSE LE LUXE Le Luxe I, a full-size study for the final version in Copenhagen, is undoubtedly more "interesting" to the critic preoccupied with the evolution of Matisse's art.However, it is infinitely less complete, less "realized" than the more articulate, simplified, and compact statement of Le Luxe II, which remains one of the artist's most sereneimages.
JOY OF LIFE (BONHEUR DE VIVRE), 1905 BY HENRI MATISSE Joy of Life is a large-scale painting (nearly 6 feet in height, 8 feet in width), depicting an Arcadian landscape filled with brilliantly colored forest, meadow, sea, and sky and populated by nude figures both at rest and in motion. As with the earlier Fauve canvases, color is responsive only to emotional expression and the formal needs of the THE SNAIL, 1953 BY HENRI MATISSE The Snail, 1953 by Henri Matisse. Click Image to view detail. After 1948 Matisse was prevented from painting by ill health but, although confined to bed, he produced a number of works known as gouaches découpées. These were made by cutting or tearing shapes from paper which had been painted with gouache. The shapes were placed and pasteddown
L'ATELIER ROUGE, 1911 BY HENRI MATISSE L'Atelier Rouge (The Red Studio) features a small retrospective of Matisse's recent painting, sculpture, and ceramics, displayed in his studio. The artworks appear in color and in detail, while the room's architecture and furnishings are indicated only by negative gaps in the red surface. The composition's central axis is a grandfather clock SORROW OF THE KING, 1952 BY HENRI MATISSE Sorrow of the King, 1952 by Henri Matisse. Click Image to view detail. The Sorrows of the King was Matisse's final self portrait. This work refers to one of Rembrandt's paintings, David Playing the Harp before Saul, in which the young biblical hero plays to distract the king from his melancholy, as well as to Rembrandt's late self portraits. PAUL CEZANNE'S IMPACT ON HENRI MATISSEHENRI MATISSE ARTISTHENRI MATISSE ARTWORKSHENRI MATISSE BORNHENRI MATISSE HISTORYHENRI MATISSE PAINTINGHENRI MATISSE PORTRAIT Paul Cezanne's Impact on Henri Matisse. After being steered towards it by Pissarro, Henri Matisse bought Cezanne's Three Bathers from Ambroise Vollard who, in turn, had acquired it directly from Paul Cezanne. Matisse could ill afford to spend money on other artists' works at the time, but was so moved by this piece that he signed apromissory
LADY IN BLUE, 1938 BY HENRI MATISSE Lady in Blue, 1938 by Henri Matisse. Click Image to view detail. In Lady in Blue, Matisse missed the balance he had achieved. He wrote to fellow-artist Pierre Bonnard: "My drawing is what I need, since it expresses what is distinctive in my own feeling. But my painting is restricted by the new conventions of applying large zones of paint to WOMAN IN A PURPLE COAT, 1937 BY HENRI MATISSE Woman in a Purple Coat, 1937 by Henri Matisse. Click Image to view detail. Lydia Delectorskaya, Matisse's model for Woman in a Purple Coat and caretaker in his final years, was a Russian from Siberia who fled from Russia during the 1917 revolution, and who on her own account said she was much more different than the other models he usedwith
OPEN WINDOW, COLLIOURE, 1905 BY HENRI MATISSESEE MORE ONHENRIMATISSE.ORG
THE SHEAF, 1953 BY HENRI MATISSEDEFINE SHEAFGOLDEN SHEAFMATISSE THESHEAF
The Sheaf, 1953 by Henri Matisse. Click Image to view detail. In 1909 Matisse received an important commission. An extremely wealthy Russian industrialist named Sergei Shchukin asked Matisse for three large scale canvases to decorate the spiral staircase of his mansion, the Trubetskoy Palace, in Moscow. The large and well loved painting, Dance LE LUXE I, 1907 BY HENRI MATISSEHENRI MATISSE S SON JEAN MATISSELUXE CALME ET VOLUPTE POEMLUXE CALME ET VOLUPTE TRANSLATIONMATISSE LE LUXE Le Luxe I, a full-size study for the final version in Copenhagen, is undoubtedly more "interesting" to the critic preoccupied with the evolution of Matisse's art.However, it is infinitely less complete, less "realized" than the more articulate, simplified, and compact statement of Le Luxe II, which remains one of the artist's most sereneimages.
JOY OF LIFE (BONHEUR DE VIVRE), 1905 BY HENRI MATISSE Joy of Life is a large-scale painting (nearly 6 feet in height, 8 feet in width), depicting an Arcadian landscape filled with brilliantly colored forest, meadow, sea, and sky and populated by nude figures both at rest and in motion. As with the earlier Fauve canvases, color is responsive only to emotional expression and the formal needs of the THE SNAIL, 1953 BY HENRI MATISSE The Snail, 1953 by Henri Matisse. Click Image to view detail. After 1948 Matisse was prevented from painting by ill health but, although confined to bed, he produced a number of works known as gouaches découpées. These were made by cutting or tearing shapes from paper which had been painted with gouache. The shapes were placed and pasteddown
L'ATELIER ROUGE, 1911 BY HENRI MATISSE L'Atelier Rouge (The Red Studio) features a small retrospective of Matisse's recent painting, sculpture, and ceramics, displayed in his studio. The artworks appear in color and in detail, while the room's architecture and furnishings are indicated only by negative gaps in the red surface. The composition's central axis is a grandfather clock SORROW OF THE KING, 1952 BY HENRI MATISSE Sorrow of the King, 1952 by Henri Matisse. Click Image to view detail. The Sorrows of the King was Matisse's final self portrait. This work refers to one of Rembrandt's paintings, David Playing the Harp before Saul, in which the young biblical hero plays to distract the king from his melancholy, as well as to Rembrandt's late self portraits. PAUL CEZANNE'S IMPACT ON HENRI MATISSEHENRI MATISSE ARTISTHENRI MATISSE ARTWORKSHENRI MATISSE BORNHENRI MATISSE HISTORYHENRI MATISSE PAINTINGHENRI MATISSE PORTRAIT Paul Cezanne's Impact on Henri Matisse. After being steered towards it by Pissarro, Henri Matisse bought Cezanne's Three Bathers from Ambroise Vollard who, in turn, had acquired it directly from Paul Cezanne. Matisse could ill afford to spend money on other artists' works at the time, but was so moved by this piece that he signed apromissory
LADY IN BLUE, 1938 BY HENRI MATISSE Lady in Blue, 1938 by Henri Matisse. Click Image to view detail. In Lady in Blue, Matisse missed the balance he had achieved. He wrote to fellow-artist Pierre Bonnard: "My drawing is what I need, since it expresses what is distinctive in my own feeling. But my painting is restricted by the new conventions of applying large zones of paint to WOMAN IN A PURPLE COAT, 1937 BY HENRI MATISSE Woman in a Purple Coat, 1937 by Henri Matisse. Click Image to view detail. Lydia Delectorskaya, Matisse's model for Woman in a Purple Coat and caretaker in his final years, was a Russian from Siberia who fled from Russia during the 1917 revolution, and who on her own account said she was much more different than the other models he usedwith
JOY OF LIFE (BONHEUR DE VIVRE), 1905 BY HENRI MATISSE Joy of Life is a large-scale painting (nearly 6 feet in height, 8 feet in width), depicting an Arcadian landscape filled with brilliantly colored forest, meadow, sea, and sky and populated by nude figures both at rest and in motion. As with the earlier Fauve canvases, color is responsive only to emotional expression and the formal needs of the HENRI MATISSE AND FAUVISM Henri Matisse and Fauvism. Fauvism was the first of the avant-garde movements that flourished in France in the early years of the twentieth century. The Fauve painters were the first to break with Impressionism (leading artist: Claude Monet) as well as with older, traditional methods of perception. Their spontaneous, often subjectiveresponse
CLAUDE MONT'S INFLUENCE ON HENRI MATISSE Claude Mont's influence on Henri Matisse. The Impressionists' desire to look at the world with a new freshness and immediacy continues to appeal to audiences today, making it the most popular style of painting in the world. The Impressionists were radical in their own time because "High Art" was supposed to depict gods, heroes and warssubjects
THE PINK STUDIO, 1911 BY HENRI MATISSE The first impression received from Pink Studio is as jolting as that of its companion, Red Studio.The unheralded quality of the pink, which is not as all-pervasive as the red of the other, is in no way muted by the differing intensities applied to the floor and the wall, and the prominent areas of green and blue serve to reinforce its sumptuous luminosity, a quality significantly absent from THE SNAIL, 1953 BY HENRI MATISSE The Snail, 1953 by Henri Matisse. Click Image to view detail. After 1948 Matisse was prevented from painting by ill health but, although confined to bed, he produced a number of works known as gouaches découpées. These were made by cutting or tearing shapes from paper which had been painted with gouache. The shapes were placed and pasteddown
THE PIANO LESSON, 1916 BY HENRI MATISSE The Piano Lesson depicts the living room of Matisse's home in Issy-les-Moulineaux, with his elder son, Pierre, at the piano, the artist's sculpture Decorative Figure (1908), at bottom left, and, at upper right, his painting Woman on a High Stool. Matisse began with a naturalistic drawing, but he eliminated detail as he worked, scraping down areas and rebuilding them in broad fields of color. LADY IN BLUE, 1938 BY HENRI MATISSE Lady in Blue, 1938 by Henri Matisse. Click Image to view detail. In Lady in Blue, Matisse missed the balance he had achieved. He wrote to fellow-artist Pierre Bonnard: "My drawing is what I need, since it expresses what is distinctive in my own feeling. But my painting is restricted by the new conventions of applying large zones of paint to LUXE, CALME ET VOLUPTÉ, 1904 BY HENRI MATISSE Luxe, Calme et Volupté takes its name from the refrain of Charles Baudelaire's poem, Invitation to a Voyage (1857), in which a man invites his lover to travel with him to paradise. The painting shares the poem's subject: escape to an imaginary, tranquil refuge. From late 1899, Matisse spent a great deal of time in the museums, but also in avantgarde galleries such as Ambroise Vollard's YOUNG SAILOR, 1906 BY HENRI MATISSE Matisse painted The Young Sailor in 1906, at the height of his involvement with the Fauves. The sitter of this picture is an eighteen-year-old fisherman, Germain Augustin Barthélémy Montargès, from the small Mediterranean village of Collioure, near the Spanish border. Against the flat, bright pink background, Germain wearstypical fisherman
WINDOW IN TAHITI, 1935 BY HENRI MATISSE Window in Tahiti, 1935 by Henri Matisse. Click Image to view detail. During his visit to the South Seas, specifically Tahiti, Matisse did several remarkable drawings but no paintings. This was in 1930, just before he began work on the Barnes Dance. Hence it was not until five years after the trip that the artist sought to condense his* Home
* Masterpiese of Henri Matisse* The Dance
* Bathers by a River* Carmelina, 1903
* Luxe, Calme et Volupté, 1904 * Joy of Life (Bonheur de Vivre), 1905 * Open Window, Collioure, 1905 * Woman with a Hat (Femme au chapeau), 1905 * Green Stripe, 1905 * Young Sailor, 1906 * The Blue Nude, 1907* Le Luxe I, 1907
* The Dessert: Harmony in Red, 1908 * The Conversation, 1908-1912* Music, 1910
* The Pink Studio, 1911 * L'Atelier Rouge, 1911 * The Goldfish, 1912 * Goldfish and Palette, 1915 * Portrait of Madame Matisse, 1913 * Sleeping Nude, 1916 * Interior at Nice, 1921* Pink Nude, 1935
* Woman in a Purple Coat, 1937 * Lady in Blue, 1938 * The Music (La Musique), 1939 * Portrait of Lydia Delectorskaya, 1947 * Sorrow of the King, 1952* Nu bleu IV, 1952
* The Snail, 1953
* The Sheaf, 1953
* Selected Matisse Paintings * Complete Matisse Paintings * Henri Matisse Painting Gallery 1 * Henri Matisse Painting Gallery 2 * Henri Matisse Painting Gallery 3 * Henri Matisse Painting Gallery 4 * Henri Matisse Painting Gallery 5* Matisse Cutouts
* Matisse Quotes
HENRI MATISSE
Biography, Artworks, & QuotesOur Etsy Store
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HENRI MATISSE BIOGRAPHY HENRI MATISSE (31 December 1869 - 3 November 1954), one of the undisputed masters of 20th century art, was a French artist, known for his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter. Matisse is commonly regarded, along with 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 20th century, responsible for significant developments in painting and sculpture. Although he was initially labeled a Fauve (wild beast), by the 1920s he was increasingly hailed as an upholder of the classical tradition in French painting. 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 figurein modern art.
EARLY LIFE AND EDUCATION Henri Matisse was born in Le Cateau-Cambresis, Nord, France. He grew up in Bohain-en-Vermandois, Picardy, France, where his parents owned a flower business; he was their first son. 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, and decided to become an artist, deeply disappointing his father. 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 Edouard Manet , and by Japanese art. Chardin was one of Matisse's most admired painters; as an art student he made copies of four Chardin paintings in the Louvre. 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 forMatisse.
In 1896, Matisse, an unknown art student at the time, visited the Australian painter John Russell on the island Belle Ile off the coast of Brittany. Russell introduced him to Impressionism and to paintingsof Vincent van Gogh
- who had been
a friend of Russell - and gave him one of Vincent van Gogh's drawings. Matisse's
style changed completely; abandoning his earth-coloured palette for bright colours. He later said "Russell was my teacher, and Russell explained colour theory to me." 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. Upon his return to Paris in February 1899 he worked beside Albert Marquet and met André Derain, Jean Puy, and Jules Flandrin. 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 Paul Cézanne
's Three Bathers
. In Cézanne's sense of pictorial structure and colour Matisse found his main inspiration. Many of Matisse's paintings from 1898 to 1901 make use of a Divisionist technique he adopted after reading Paul Signac's essay, "Eugene Delacroix and Néo-impressionisme". 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.FAUVISM
His first solo exhibition was at Ambroise Vollard's gallery in 1904, 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. In that year he painted the most important of his works in the neo-Impressionist style, Luxe, Calme et Volupté. In 1905 he traveled southwards again to work with André Derain at Collioure. His paintings of this period are characterized by flat shapes and controlled lines, and use pointillism in a less rigorous way thanbefore.
In 1905, Matisse and a group of artists now known as "Fauves" exhibited together in a room at the Salon d'Automne. 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 au milieu des fauves!" (Donatello among the wild beasts), referring to a Renaissance-type sculpture that shared the room with them. His comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and passed into popular usage. 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 favorable attention. 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 improvedconsiderably.
Matisse was recognized 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. > What I dream of is an art of balance, purity, and serenity devoid of > troubling or depressing subject matter... a soothing, calming > influence on the mind, something like a good armchair which provides > relaxation from physical fatigue. ” > - Henri Matisse In 1907 Apollinaire, commenting about Matisse in an article published in La Falange, said, "We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable." But Matisse's work of the time also encountered vehement criticism, and it was difficult for him to provide for his family. His controversial 1907 painting Nu bleu was burned in effigy at the Armory Show in Chicago in 1913. The decline of the Fauvist movement after 1906 did nothing to affect the rise 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: after viewing a large exhibition of Islamic art in Munich in 1910, he spent two months in Spain studying Moorish art. The effect on Matisse's art was a new boldness in the use of intense, unmodulated colour, as in L'Atelier Rouge(1911).
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 Artin New York City.
GERTRUDE STEIN, ACADÉMIE MATISSE, AND THE CONE SISTERS Around 1904 he met Pablo Picasso , who was 12 years younger than Matisse. The two became life-long 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 realized 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 20th century, 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 Clarabel and Etta, became major patrons of Matisse and Picasso, collecting hundreds of their paintings. The Cone collection is now exhibited in the Baltimore Museum of Art. 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 Monet , Cézanne , Matisse, and Picasso 's works dominated Leo and Gertrude Stein's collection, Sarah Stein's collection emphasized Matisse. 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), andHenri Rousseau .
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. Hans Purrmann and Sarah Stein were amongst several of his most loyal students. > There are always flowers for those who want to see them. ” - Henri> Matisse
AFTER PARIS
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, and the return to traditionalism of Derain. His orientalist odalisque paintings are characteristic of the period; while popular, some contemporary critics found this work shallow anddecorative.
In the late 1920s Matisse notably once again engaged in active collaborations with other artists. He worked with not only Frenchmen, Dutch, Germans, and Spanish, 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 Matissepaintings.
He and his wife of 41 years separated in 1939. In 1941, he underwent surgery in which a colostomy was performed. Afterward he started using a wheelchair, and until his death he was cared for by a Russian woman, Lydia Delektorskaya, formerly one of his models. With the aid of assistants he set about creating cut paper collages, often on a large scale, called gouaches découpés. His Blue Nudes series feature prime examples of this technique he called "painting with scissors"; they demonstrate the ability to bring his eye for colour and geometry to a new medium of utter simplicity, but with playful and delightful power. In 1947 he published Jazz, a limited-edition book containing prints of colorful paper cut collages, accompanied by his written thoughts. In the 1940s 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. Matisse, thoroughly unpolitical, was shocked when he heard that his daughter Marguerite, who had been active in the Résistance during the war, was tortured (almost to death) in a Rennes prison and sentenced to the Ravensbrück concentration camp. 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", Rockefeller writes. Installation was completed in 1956. > If my story were ever to be written truthfully from start to finish, > it would amaze everyone. ” > - Henri MatisseLEGACY
In 1951 Matisse finished a four-year project of designing the interior, the glass windows and the decorations of the Chapelle du Rosaire de Vence, often referred to as the Matisse Chapel. This project was the result of the close friendship between Matisse and Sister Jacques-Marie. He had hired her as a nurse and model in 1941 before she became a Dominican nun and they 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 forMatisse".
He established a museum dedicated to his work in 1952, in his birthplace city, and this museum is now the third-largest collection of Matisse works in France. Matisse died of a heart attack at the age of 84 in 1954. He is interred in the cemetery of the Monastère Notre Dame de Cimiez, near Nice. Just like William Shakespeare on literature, and Sigmund Freud on psychology, Henri Matisse's impact on Fauvism movement is tremendous. Thanks to the influence he had on painting following the Second World War, Henri Matisse's reputation is higher than it has ever been before. Following the principle discussed by Hans Hofmann, that color was responsible for structural configurations behind the picture, was showcased in American abstract art. Works of Jackson Pollock , Mark Rothko , and other color field painters, showcased this style in their pieces. Following this concept, Matisse is an influential figure of the 20th century, and a decisive figure of the time. By defining a clearly pictorial language, of colors and arabesque lines, rather than looking at painting as a means to an end, Matisse had a great impact on future movements, and works, produced by artists in the 20th century. HENRI MATISSE MASTERPIECES*
Joy of Life
*
Woman with a Hat
*
Green Stripe
*
Luxe, Calme et Volupté*
Nu Bleu IV
*
The Dessert: Harmony in Red*
The Open Window
*
L'Atelier Rouge
*
The Goldfish
*
Bathers by a River
*
The Snail
*
Sorrow of the King
*
Woman in a Purple Coat*
The Moroccans
*
Window in Tahiti
*
The Music
*
Portrait of Lydia Delectorskaya*
Joy of Life
*
Woman with a Hat
*
Green Stripe
*
Luxe, Calme et Volupté*
Nu Bleu IV
*
The Dessert: Harmony in RedSponsored Story
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