What Art Movement Is the Three Sisters by Henri Matisee Painted

20th-century French artist (1869–1954)

Henri Matisse
Henri Matisse, 1913
Born	Henri Émile Benoît Matisse (1869-12-31)31 December 1869 Le Cateau-Cambrésis, French republic
Died	3 Nov 1954(1954-xi-03) (aged 84) Overnice, French republic
Education	Académie Julian, William-Adolphe Bouguereau, Gustave Moreau
Known for	Painting printmaking sculpture drawing collage
Notable work	Woman with a Hat (1905) The Joy of Life (1906) Nu bleu (1907) La Danse (1909) L'Atelier Rouge (1911)
Movement	Fauvism, Modernism, Post-Impressionism
Spouse(s)	Amélie Noellie Parayre (yard. 1898; div. 1939)
Children	3

Patron(south)	Sergei Shchukin, Gertrude Stein, Etta Cone, Claribel Cone, Sarah Stein, Albert C. Barnes

Henri Émile Benoît Matisse (French: [ɑ̃ʁi emil bənwa matis]; 31 Dec 1869 – 3 November 1954) was a French artist, known for both his utilize of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily equally a painter.^[one] Matisse is commonly regarded, forth with Pablo Picasso, as ane of the artists who all-time helped to define the revolutionary developments in the visual arts throughout the opening decades of the twentieth century, responsible for meaning developments in painting and sculpture.^[2] ^[3] ^[4] ^[5]

The intense colorism of the works he painted between 1900 and 1905 brought him notoriety as ane of the Fauves (wild beasts). Many of his finest works were created in the decade or then subsequently 1906, when he adult a rigorous style that emphasized flattened forms and decorative pattern. In 1917, he relocated to a suburb of Dainty on the French Riviera, and the more relaxed style of his work during the 1920s gained him critical acclaim as an upholder of the classical tradition in French painting.^[vi] After 1930, he adopted a bolder simplification of form. When sick health in his final years prevented him from painting, he created an of import torso of piece of work in the medium of cut paper collage.

His mastery of the expressive linguistic communication of color and cartoon, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art.^[7]

Early life and educational activity [edit]

Matisse was born in Le Cateau-Cambrésis, in the Nord section in Northern France on New year's day's Eve in 1869, the oldest son of a wealthy grain merchant.^[eight] He grew up in Bohain-en-Vermandois, Picardie, French republic. In 1887, he went to Paris to written report law, working as a courtroom administrator in Le Cateau-Cambrésis after gaining his qualification. He outset started to pigment in 1889, afterward 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 creative person, deeply disappointing his father.^[10] ^[eleven]

In 1891, he returned to Paris to study art at the Académie Julian nether William-Adolphe Bouguereau and at the Ecole nationale des beaux-arts under Gustave Moreau. Initially he painted still lifes and landscapes in a traditional way, at which he achieved reasonable proficiency. Matisse was influenced by the works of before masters such as Jean-Baptiste-Siméon Chardin, Nicolas Poussin, and Antoine Watteau, every bit well as past modern artists, such as Édouard Manet, and by Japanese fine art. Chardin was ane of the painters Matisse most admired; equally an art educatee he made copies of 4 of Chardin's paintings in the Louvre.^[12]

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

Henri and Amélie Matisse, 1898

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

In 1898, on the communication of Camille Pissarro, he went to London to study the paintings of J. M. W. Turner and and then went on a trip to Corsica.^[18] Upon his return to Paris in February 1899, he worked beside Albert Marquet and met André Derain, Jean Puy,^[xix] and Jules Flandrin.^[20] Matisse immersed himself in the piece of work of others and went into debt from buying work from painters he admired. The work he hung and displayed in his abode included a plaster bust by Rodin, a painting past Gauguin, a drawing by Van Gogh, and Cézanne'due south Three Bathers. In Cézanne'southward sense of pictorial structure and color, Matisse found his main inspiration.^[19]

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

In May 1902, Amélie's parents became ensnared in a major financial scandal, the Humbert Matter. Her female parent (who was the Humbert family'southward housekeeper) and begetter became scapegoats in the scandal, and her family unit was menaced by angry mobs of fraud victims.^[21] According to art historian Hilary Spurling, "their public exposure, followed by the arrest of his father-in-law, left Matisse equally the sole breadwinner for an extended family of seven."^[21] During 1902 to 1903, Matisse adopted a style of painting that was insufficiently somber and concerned with class, a change possibly intended to produce saleable works during this fourth dimension of cloth hardship.^[21] Having made his first attempt at sculpture, a copy later Antoine-Louis Barye, in 1899, he devoted much of his energy to working in clay, completing The Slave in 1903.^[22]

Early paintings [edit]

Fauvism [edit]

Fauvism as a way began around 1900 and connected beyond 1910. The movement every bit such lasted only a few years, 1904–1908, and had three exhibitions.^[23] ^[24] The leaders of the motility were Matisse and André Derain.^[23] Matisse's first solo exhibition was at Ambroise Vollard'due south gallery in 1904,^[nineteen] without much success. His fondness for bright and expressive colour became more pronounced afterwards he spent the summertime of 1904 painting in St. Tropez with the neo-Impressionists Signac and Henri-Edmond Cantankerous.^[18] In that year, he painted the nearly of import of his works in the neo-Impressionist style, Luxe, Calme et Volupté.^[18] In 1905, he travelled southwards once more 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 manner 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 anomalous colours, without regard for the subject's natural colours. Matisse showed Open Window and Woman with the Lid at the Salon. Critic Louis Vauxcelles commented on a lone sculpture surrounded past an "orgy of pure tones" as "Donatello chez les fauves" (Donatello among the wild beasts),^[25] referring to a Renaissance-type sculpture that shared the room with them.^[26] His comment was printed on 17 Oct 1905 in Gil Blas, a daily newspaper, and passed into popular usage.^[23] ^[26] The exhibition garnered harsh criticism—"A pot of paint has been flung in the face up of the public", said the critic Camille Mauclair—but besides some favourable attention.^[26] When the painting that was singled out for special condemnation, Matisse'southward Woman with a Chapeau, was bought by Gertrude and Leo Stein, the embattled creative person's morale improved considerably.^[26]

Matisse was recognised as a leader of the Fauves, along with André Derain; the two were friendly rivals, each with his ain followers. Other members were Georges Braque, Raoul Dufy, and Maurice de Vlaminck. The Symbolist painter Gustave Moreau (1826–1898) was the movement's inspirational instructor. Equally a professor at the École des Beaux-Arts in Paris, he pushed his students to remember 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'southward art is eminently reasonable."^[27] Merely Matisse'due south work of the time likewise encountered vehement criticism, and it was difficult for him to provide for his family.^[eleven] His painting Nu bleu (1907) was burned in figure at the Armory Show in Chicago in 1913.^[28]

The pass up of the Fauvist movement after 1906 did non impact 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 creative 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 fine art and Primitivism. After viewing a big exhibition of Islamic fine art in Munich in 1910, he spent ii months in Spain studying Moorish art. He visited Morocco in 1912 and again in 1913 and while painting in Tangier he made several changes to his work, including his use of black as a colour.^[29] ^[30] ^[31] The effect on Matisse'southward art was a new boldness in the employ of intense, unmodulated color, as in 50'Atelier Rouge (1911).^[xviii]

Matisse had a long association with the Russian art collector Sergei Shchukin. He created ane of his major works La Danse particularly for Shchukin equally part of a two painting commission, the other painting beingness Music, 1910. An before 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]

Sculpture [edit]

Henri Matisse, The Back Series, bronze, left to right: The Dorsum I, 1908–09, The Back Ii, 1913, The Dorsum Iii 1916, The Dorsum Iv, c. 1931, all Museum of Modern Art, New York City^[35] ^[36] ^[37]

Henri Matisse, 1900–1904, Le Serf (The Serf, Der Sklave), bronze
Henri Matisse, 1905, Sleep, woods, exhibition Bluish 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, statuary

Gertrude Stein, Académie Matisse, and the Cone sisters [edit]

Around April 1906, Matisse met Pablo Picasso, who was 11 years his inferior.^[11] The two became lifelong friends equally well every bit rivals and are oft compared. One key departure between them is that Matisse drew and painted from nature, while Picasso was more inclined to piece of work from imagination. The subjects painted most oft past both artists were women and still lifes, with Matisse more likely to place his figures in fully realised interiors. Matisse and Picasso were first brought together at the Paris salon of Gertrude Stein with her partner Alice B. Toklas. During the starting time 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'southward 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 drove is now exhibited in the Baltimore Museum of Art.^[38]

While numerous artists visited the Stein salon, many of these artists were not represented among the paintings on the walls at 27 rue de Fleurus. Where the works of Renoir, Cézanne, Matisse, and Picasso dominated Leo and Gertrude Stein'due south drove, Sarah Stein'southward collection specially emphasised Matisse.^[39]

Contemporaries of Leo and Gertrude Stein, Matisse and Picasso became part of their social circumvolve and routinely joined the gatherings that took place on Sabbatum evenings at 27 rue de Fleurus. Gertrude attributed the beginnings of the Sat evening salons to Matisse, remarking:

More and more than frequently, people began visiting to see the Matisse paintings—and the Cézannes: Matisse brought people, everybody brought somebody, and they came at whatever time and information technology began to be a nuisance, and it was in this fashion that Saturday evenings began.^[40]

Among Pablo Picasso'southward acquaintances who also frequented the Sabbatum 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.^[41]

His friends organized and financed the Académie Matisse in Paris, a private and non-commercial school in which Matisse instructed young artists. Information technology operated from 1907 until 1911. The initiative for the academy came from the Steins and the Dômiers, with the interest of Hans Purrmann, Patrick Henry Bruce, and Sarah Stein.^[42]

Matisse spent 7 months in Morocco from 1912 to 1913, producing near 24 paintings and numerous drawings. His frequent orientalist topics of afterward paintings, such every bit odalisques, can be traced to this period.^[43]

Selected works: Paris, 1910–1917 [edit]

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 canvass, 245.one 10 210.8 cm, Barnes Foundation

Afterwards Paris [edit]

Le Chant du Rossignol, Tamara Karsavina with dancers. Costume designs by Matisse, 1920

In 1917, Matisse relocated to Cimiez on the French Riviera, a suburb of the city of Nice. His work of the decade or and so post-obit this relocation shows a relaxation and softening of his approach. This "return to order" is characteristic of much post-World State of war I fine art, and can be compared with the neoclassicism of Picasso and Stravinsky as well as the return to traditionalism of Derain.^[45] Matisse's orientalist odalisque paintings are feature of the menstruation; while this piece of work was popular, some contemporary critics found it shallow and decorative.^[46]

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

Later 1930, a new vigor and bolder simplification appeared in his work. American art collector Albert C. Barnes convinced Matisse to produce a large mural for the Barnes Foundation, The Trip the light fantastic toe 2, which was completed in 1932; the Foundation owns several dozen other Matisse paintings. This motion toward simplification and a foreshadowing of the cut-out technique is likewise evident in his painting Large Reclining Nude (1935). Matisse worked on this painting for several months and documented the progress with a series of 22 photographs, which he sent to Etta Cone.^[47]

State of war years [edit]

Matisse's married woman Amélie, who suspected that he was having an matter 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 breast; remarkably, she survived with no serious later-effects, and returned to Matisse and worked with him for the rest of his life, running his household, paying the bills, typing his correspondence, keeping meticulous records, assisting in the studio, and coordinating his business affairs.^[48]

Matisse was visiting Paris when the Nazis invaded France in June 1940, merely managed to make his mode dorsum to Dainty. His son, Pierre, by then a gallery owner in New York, begged him to flee while he could. Matisse was well-nigh to depart for Brazil to escape the Occupation only changed his listen and remained in Prissy, in Vichy France. "It seemed to me as if I would exist deserting," he wrote Pierre in September 1940. "If everyone who has whatsoever value leaves France, what remains of France?". Although he was never a member of the resistance, it became a betoken of pride to the occupied French that one of their most acclaimed artists chose to stay, though of course, being non-Jewish, he had that option.^[49]

While the Nazis occupied France from 1940 to 1944, they were more lenient in their attacks on "degenerate fine art" in Paris than they were in the German language-speaking nations under their military machine 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 adjuration assuring their "Aryan" status—including Matisse.^[fifty] 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 nigh died.^[51] Being bedridden for iii months resulted in his developing a new art class using paper and scissors.^[52]

That same twelvemonth, a nursing student named Monique Bourgeois responded to an advertizing placed by Matisse for a nurse. A platonic friendship adult betwixt Matisse and Conservative. He discovered that she was an amateur artist and taught her well-nigh 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.

Matisse remained for the most part isolated in southern France throughout the war but his family was intimately involved with the French resistance. His son Pierre, the art dealer in New York, helped the Jewish and anti-Nazi French artists he represented to escape occupied France and enter the United states of america. In 1942, Pierre held an exhibition in New York, "Artists in Exile," which was to become legendary. Matisse's estranged wife, Amélie, was a typist for the French Underground and jailed for six months. Matisse was shocked when he heard that his daughter Marguerite, who had been active in the Résistance during the war, was tortured (almost to death) by the Gestapo in a Rennes prison house and sentenced to the Ravensbrück concentration military camp in Frg.^[ten] Marguerite managed to escape from the train to Ravensbrück, which was halted during an Allied air raid; she survived in the wood in the chaos of the endmost days of the war until rescued by fellow resisters.^[53] Matisse's student Rudolf Levy was killed in the Auschwitz concentration camp in 1944.^[54] ^[55]

Final years [edit]

Cut-outs [edit]

Diagnosed with intestinal cancer in 1941, Matisse underwent surgery that left him reliant on a wheelchair and ofttimes bed spring. 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 cutting paper collages, or decoupage. He would cutting sheets of newspaper, pre-painted with gouache past his administration, into shapes of varying colours and sizes, and arrange them to grade lively compositions. Initially, these pieces were modest in size, but eventually transformed into murals or room-sized works. The issue was a distinct and dimensional complexity—an art course that was not quite painting, only non quite sculpture.^[56] ^[57] He called the final 14 years of his life "une seconde vie," pregnant his second life. When talking near his piece of work, Matisse mentioned that, while his mobility was limited, he could wander through gardens in the course of his artwork.^[58] ^[59]

Although the paper cut-out was Matisse's major medium in the last 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 equanimous by Igor Stravinsky.^[57] Albert C. Barnes bundled for paper-thin templates to be made of the unusual dimensions of the walls onto which Matisse, in his studio in Nice, fixed the limerick of painted paper shapes. Another grouping of cutting-outs were made betwixt 1937 and 1938, while Matisse was working on the phase 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 course, rather than its prior utilitarian origin.^[60] ^[61]

He moved to the hilltop of Vence, France in 1943, where he produced his showtime major cutting-out project for his artist's book titled Jazz. However, these cutting-outs were conceived every bit designs for stencil prints to be looked at in the book, rather than as independent pictorial works. At this point, Matisse yet idea of the cut-outs as divide 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 cutting-out technique offers, insisting "An creative person must never be a prisoner of himself, prisoner of a way, prisoner of a reputation, prisoner of success…"^[60]

The number of independently conceived cut-outs steadily increased following Jazz, and eventually led to the cosmos of landscape-size works, such as Oceania the Sky and Oceania the Sea of 1946. Under Matisse'southward direction, Lydia Delectorskaya, his studio assistant, loosely pinned the silhouettes of birds, fish, and marine vegetation directly onto the walls of the room. The two Oceania pieces, his first cut-outs of this calibration, evoked a trip to Tahiti he made years before.^[62]

In May 1954, his cut out The Sheaf was exhibited at the Salon de Mai and met with success.^[63] The artwork was a commission for American collectors Mr and Mrs Brody and the cutting out was so adpated to a ceramic for their firm in Los Angeles. It is now located in the LACMA.^[64]

Chapel and museum [edit]

In 1948, Matisse began to set designs for the Chapelle du Rosaire de Vence, which immune 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 cutting-out method—had the consequence of consolidating the medium as his primary focus. Finishing his terminal painting in 1951 (and final sculpture the twelvemonth before), Matisse utilized the paper cut-out as his sole medium for expression upward until his decease.^[65]

This project was the outcome of the close friendship between Matisse and Bourgeois, now Sis Jacques-Marie, despite him being an atheist.^[66] ^[67] 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".^[68]

In 1952, he established a museum dedicated to his work, the Matisse Museum in Le Cateau, and this museum is at present the third-largest collection of Matisse works in France.

According to David Rockefeller, Matisse's final work was the blueprint for a stained-glass window installed at the Union Church of Pocantico Hills near the Rockefeller estate northward of New York City. "It was his concluding creative creation; the maquette was on the wall of his bedroom when he died in November of 1954", Rockefeller writes. Installation was completed in 1956.^[69]

Death [edit]

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

Legacy [edit]

Tombstone of Henri Matisse and his married woman Amélie Noellie, cemetery of the Monastère Notre Matriarch de Cimiez, Cimiez, French republic

The first painting of Matisse acquired by a public collection was Still Life with Geraniums (1910), exhibited in the Pinakothek der Moderne.^[71]

His The Plum Blossoms (1948) was purchased on 8 September 2005 for the Museum of Modernistic Art by Henry Kravis and the new president of the museum, Marie-Josée Drouin. Estimated toll was US$25 meg. Previously, it had not been seen by the public since 1970.^[72] In 2002, a Matisse sculpture, Reclining Nude I (Dawn), sold for United states$9.2 million, a record for a sculpture past the artist.

Matisse'due south 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.^[73]

Matisse's son Pierre Matisse (1900–1989) opened a modernistic art gallery in New York City during the 1930s. The Pierre Matisse Gallery, which was agile from 1931 until 1989, represented and exhibited many European artists and a few Americans and Canadians in New York frequently for the commencement time. He exhibited Joan Miró, Marc Chagall, Alberto Giacometti, Jean Dubuffet, André Derain, Yves Tanguy, Le Corbusier, Paul Delvaux, Wifredo Lam, Jean-Paul Riopelle, Balthus, Leonora Carrington, Zao Wou Ki, Sam Francis, and Simon Hantaï, sculptors Theodore Roszak, Raymond Mason, and Reg Butler, and several other important artists, including the work of Henri Matisse.^[74] ^[75]

Henri Matisse'southward grandson Paul Matisse is an artist and inventor living in Massachusetts. Matisse'due south great-granddaughter Sophie Matisse is active as an creative person. Les Heritiers Matisse functions equally his official Manor. The U.S. copyright representative for Les Heritiers Matisse is the Artists Rights Society.^[76]

The Musée Matisse in Overnice, a municipal museum, has one of the earth'southward largest collections of Matisse's works, tracing his artistic beginnings and his evolution through to his last works. The museum, which opened in 1963, is located in the Villa des Arènes, a seventeenth-century villa in the neighbourhood of Cimiez.^[77]

Nazi-looted art [edit]

Numerous artworks past Matisse were seized past the Nazis or looted from Jewish collectors or changed hands in forced sales during the Nazi years. In the past twenty years, several artworks by Matisse have been restituted to the heirs of their pre-Third Reich owners, including Le Mur Rose, from France's Pompidou Museum to the heirs of Henry Fuld,^[78] "Femme Assise", discovered in the stash of Hildebrand Gurlitt'due south son in Munich,^[79] La vallée de la Stour, which had belonged to Anna Jaffé, plant in the La Chaux-de-Fonds Museum^[80] and many others.

The German Lost Art Foundation lists 38 artworks past Matisse in the Lost Art Net Database.^[81]

Contempo exhibitions [edit]

Henri Matisse: The Cut-Outs was exhibited at London's Tate Modernistic, from Apr to September 2014.^[82] The show was the largest and most extensive of the cut-outs ever mounted, including approximately 100 newspaper maquettes—borrowed from international public and individual collections—equally well every bit a selection of related drawings, prints, illustrated books, stained glass, and textiles.^[83] In full, 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.^[84]

The bear witness then traveled to New York's Museum of Modernistic Art, where it was on display through x February 2015. The newly conserved cutting-out, The Swimming Puddle, which had been off view for more 20 years prior, returned to the galleries as the centerpiece of the exhibition.^[85]

Fractional list of works [edit]

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'Fine art Moderne
Dark-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)
Blueish Nude (1907), Baltimore Museum of Fine 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)
50'Atelier Rouge (1911)
The Conversation (1908–1912)
Zorah on the Terrace (1912)
Le Rifain assis (1912)
Window at Tangier (1912)
Le rideau jaune (the yellowish curtain) (1915)
The Window (1916), Detroit Plant 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 Dainty (1920)
Festival of Flowers, Prissy (1923), Cleveland Museum of Art
Odalisque with Raised Artillery (1923), National Gallery of Art, Washington, D.C.
Yellow Odalisque (1926)
The Dance Two (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 Fine art
50'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)
Blackness Leaf on Green Background (1952)
La Négresse (1952)
Blue Nude II (1952)
The Snail (1953)
Le Bateau (1954) This gouache created a modest stir when the MoMA mistakenly displayed it upside-down for 47 days in 1961.^[86]

Illustrations [edit]

Jean Cocteau, Bertrand Guégan (1892–1943); Fifty'almanach de Cocagne pour 50'an 1920–1922, Dédié aux vrais Gourmands Et aux Francs Buveurs ^[87]

Writings [edit]

Notes of a Painter ("Annotation d'un peintre"), 1908
Painter'south Notes on Drawing ("Notes d'un peintre sur son dessin"), July 1939
Jazz, 1947
Matisse on Art, collected by Jack D. Flam, 1973, ISBN 0-7148-1518-seven
Chatting with Henri Matisse: The Lost 1941 Interview, Getty Publications, 2013, ISBN 978-1-60606-128-2

Portrayal in media and literature [edit]

Picture dramatisations

A picture called Masterpiece, about the artist and his relationship with Monique Bourgeois,^[88] was proposed in 2011. Deepa Mehta intended to direct with Al Pacino to play Henri Matisse.
Matisse was played by Yves-Antoine Spoto in the 2011 film Midnight in Paris.
Matisse was portrayed by Joss Ackland in the 1996 Merchant Ivory product of Surviving Picasso.

Exhibition on screen

The Museum of Mod Art's Matisse retrospective was part of the motion-picture show series "Exhibition on Screen", which broadcasts productions to movie theaters.
The movie 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. "Nosotros want to show the exhibition as well equally we possibly can to the audience who can't get in that location", said director Phil Grabsky. Inspired past a like "event movie house" produced by the Met, Grabsky started his series to simulate the experience of strolling through an art exhibit.^[89]

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 fleck for an American man to utilize as a monocle.
In Michael Ondaatje's Running in the Family, there is a section chosen 'Don't talk to me almost Matisse'
In Henry Miller's Tropic of Cancer there are multiple pages lionizing the works and importance of "the brilliant sage" Matisse, his hero.

Music

The British composer Peter Seabourne wrote a septet "The Sadness of the Rex" (2007) inspired by the late newspaper cutting La Tristesse du Roi.^[ninety]

References [edit]

Notes [edit]

^ Myers, Terry R. (July–August 2010). "Matisse-on-the-Move". The Brooklyn Rail.
^ "Tate Modern: Matisse Picasso". Tate.org.uk. Retrieved 13 February 2010.
^ Adrian Searle (7 May 2002). "Searle, Adrian, A momentous, tremendous exhibition, The Guardian, Tuesday 7 May 2002". Guardian. UK. Retrieved 13 February 2010.
^ "Trachtman, Paul, Matisse & Picasso, Smithsonian, February 2003". Smithsonianmag.com. Retrieved xiii February 2010.
^ "Duchamp's urinal tops art survey". news.bbc.co.uk. 1 December 2004. Retrieved 10 December 2010.
^ Wattenmaker, Richard J.; Distel, Anne, et al. (1993). Bang-up French Paintings from the Barnes Foundation. New York: Alfred A. Knopf. ISBN 0-679-40963-7. p. 272
^ Magdalena Dabrowski Department of Nineteenth-Century, Modern, and Contemporary Fine 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.
^ 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. iv–half dozen
^ Leymarie, Jean; Read, Herbert; Lieberman, William S. (1966), Henri Matisse, UCLA Fine art Council, p.9.
^ ^a ^b Bärbel Küster. "Arbeiten und auf niemanden hören." Süddeutsche Zeitung, 6 July 2007. (in German)
^ ^a ^b ^c ^d The Unknown Matisse, pp 352–553..., ABC Radio National, 8 June 2005
^ Spurling, Hilary. The Unknown Matisse: A Life of Henri Matisse, the Early Years, 1869–1908. p.86. accessed online 15 July 2007
^ Spurling (1998), 119–138.
^ ^a ^b interview with Hilary Spurling (8 June 2005). "The Unknown Matisse ... – Book Talk". ABC Online . Retrieved 1 August 2016.
^ Henri and Pierre Matisse, Cosmopolis, No ii, January 1999
^ Spurling (1998), 138.
^ Marguerite Matisse Retrieved thirteen December 2010
^ ^a ^b ^c ^d ^{due east} Oxford Art Online, "Henri Matisse"
^ ^a ^b ^c Leymarie, Jean; Read, Herbert; Lieberman, William S. (1966), Henri Matisse, UCLA Art Quango, p.10.
^ [i] on page 23 of Google Books Link
^ ^a ^b ^c Spurling, Hilary, 2005, "Matisse's Pajamas", The New York Review of Books, August 11, 2005, pp. 33–36.
^ Leymarie, Jean; Read, Herbert; Lieberman, William S. (1966), Henri Matisse, UCLA Art Council, pp.19–20.
^ ^a ^b ^c John Elderfield, The "Wild Beasts" Fauvism and Its Affinities, 1976, Museum of Mod Art, p.13, ISBN 0-87070-638-1
^ Freeman, Judi, et al., The Fauve Landscape, 1990, Abbeville Press, p. 13, ISBN 1-55859-025-0.
^ Vauxcelles, Louis. [two], Gil Blas, Supplément à Gil Blas du 17 octobre 1905, p.8, col.1, Salle VII (end). Retrieved from France Gallica, bibliothèque numérique (digital library), Bibliothèque nationale de France, 1 Dec 2013.
^ ^a ^b ^c ^d Chilver, Ian (Ed.). "Fauvism" Archived ix November 2011 at the Wayback Machine, The Oxford Lexicon of Art, Oxford University Printing, 2004. Retrieved from enotes.com, 26 December 2007.
^ Picasso and Braque pioneering cubism, William Rubin, published by the Museum of Modern Art, New York, copyright 1989, ISBN 0-87070-676-four p.348.
^ Henri Matisse at the Encyclopædia Britannica
^ ^a ^b "Henri Matisse. The Moroccans. Issy-les-Moulineaux, late 1915 and fall 1916 – MoMA".
^ "Matisse in Morocco".
^ Review: John Russell, Matisse and the Marking Left On Him By Morocco, NY Times
^ "Matisse, Luxe, calme et volupté, 1904, Musée d'Orsay, Paris, France". Archived from the original on 31 May 2013. Retrieved xiv April 2013.
^ "Arsenal Prove postcard with reproduction of Henri Matisse's painting the ruby-red turban, 1913, from the Walt Kuhn Family papers and Armory Evidence records, 1859-1984, bulk 1900-1949".
^ "Three Bathers, 1907, oil on canvas, 60.3 ten 73 cm, The Minneapolis Plant of Arts". Archived from the original on 7 April 2014. Retrieved 3 April 2014.
^ The Guardian, Hillary Spurling on The Back Series
^ "Henri Matisse. The Back (Iii). Issy-les-Moulineaux, by May thirteen, 1913 – early fall 1916 – MoMA".
^ Tate. "Back I, Henri Matisse c.1909–ten, cast 1955–6 – Tate". Archived from the original on 21 May 2013. Retrieved 24 February 2013.
^ Cone Drove Archived nineteen October 2014 at the Wayback Auto, Baltimore Museum of Fine art. Retrieved 29 July 2007.
^ (MoMA, 1970 at 28)
^ Mellow, 1974, p. 84
^ Mellow, 1974, p. 94-95
^ Christopher Green, Art in France, 1900–1940, Pelican History of Art Serial, Yale University Press, 2003, p. 64, ISBN 0300099088
^ Cowart, Jack; Schneider, Pierre; Elderfield, John (1990). Matisse in Kingdom of morocco: The Paintings and Drawings, 1912–1913 .
^ Joseph, Charles Grand. (2002) "Stravinsky and Balanchine, A Journey of Invention", New Haven: Yale Academy Press. ISBN ML 410 S932 J6 652002
^ Cowling, Elizabeth; Jennifer Mundy (1990). On Classic Ground: Picasso, Léger, de Chirico and the New Classicism 1910-1930. London: Tate Gallery. pp. 14, 92, 184. ISBN 1-854-37043-10.
^ Jack Cowart and Dominique Fourcade. Henri Matisse: The Early on Years in Nice 1916–1930. Henry Northward. Abrams, Inc., 1986. p. 47. ISBN 978-0810914421.
^ Henri Matisse Photographic documentation of 22 progressive states of Large Reclining Nude, 1935, The Jewish Museum Archived 29 May 2013 at the Wayback Machine
^ "Biography of Henri Matisse". Archived from the original on 12 July 2016. Retrieved 26 October 2015.
^ Kramer, Hilton (March 1992). "Art & politics in the Vichy period". newcriterion.com . Retrieved 3 November 2021. {{cite web}}: CS1 maint: url-status (link)
^ Pryce-Jones, David (1981). Paris in the Tertiary Reich: A History of the German language Occupation, 1940–1944. Holt, Rinehart & Winston, p. 220.
^ Daniels, Patricia. "Matisse: A biography".
^ Lacayo, Richard (three November 2014), The Paper Chase. At MOMA, a dazzling display of Matisse's beatific "Cut-Outs" , retrieved 9 Apr 2015
^ Heftrig, Ruth; Olaf Peters; Barbara Maria Schellewald [editors] (2008), Kunstgeschichte im "Dritten Reich": Theorien, Methoden, Praktiken, Akademie Verlag, p. 429; Spurling, Hilary, Matisse the Principal: A Life of Henri Matisse, the Conquest of Colour, 1909–1954, p.424.
^ Gilbert, Martin (2002). The Routledge Atlas of the Holocaust. Psychology Press. p. x. ISBN978-0-415-28145-4.
^ Ruhrberg, Karl (1986). Twentieth Century art: Painting and Sculpture in the Ludwig Museum. Rizzoli. p. 55. ISBN978-0-8478-0755-0.
^ Cotter, Holland (ix October 2014), "Wisps From an One-time Homo'southward Dreams 'Henri Matisse: The Cut-Outs,' a Victory Lap at MoMA", New York Times , retrieved 17 February 2015
^ ^a ^b MoMA (2014), Henri Matisse: The Cut-Outs , retrieved xix February 2015
^ Carelli, Francesco (2014). "'Painting with pair of scissors': Matisse and inventiveness in illness". London Periodical of Principal Care. 6 (four): 93. doi:10.1080/17571472.2014.11493424. ISSN 1757-1472. PMC4238723. PMID 25949724.
^ "5 Give-and-take-Famous Artists That Had Disabilities: Michelangelo, Goya, Klee..." Passionate People by Invacare. five June 2017. Retrieved twenty November 2021.
^ ^a ^b Elderfield, John (1978). The Cut-Outs of Henri Matisse. New York: George Braziller. pp. 8. ISBN0807608866.
^ Matisse, Henri (2001). Jazz. New York: Prestel Publishing. p. 10. ISBN379132392X.
^ Cotter, Holland (ix October 2014), "Wisps From an Old Homo'southward Dreams 'Henri Matisse: The Cut-Outs,' a Victory Lap at MoMA", New York Times , retrieved 17 February 2015
^ Matisse a 2d life. Hazan. 2005. p. 242.
^ "Henri Matisse: La Gerbe". LACMA . Retrieved 26 September 2021.
^ Elderfield, John (1978). The Cut-Outs of Henri Matisse. New York: George Braziller. pp. 9. ISBN0807608866.
^ Catherine Bock-Weiss (2009). Henri Matisse: Modernist Confronting the Grain. Penn Country Printing. p. 147. ISBN9780271035123. Natural enough, since he was surrounded by priests and nuns during his later illnesses and while working on the Venice Chapel, fifty-fifty though he remained a convinced atheist.
^ Sis Jacques-Marie Influence for Matisse's Rosary Chapel, Dies, NY Times, 29 September 2005 Retrieved 27 July 2010
^ French Professor Directs "Model for Matisse", Carnegie Mellon Today, 30 June 2003. Retrieved 30 July 2007.
^ David Rockefeller, It is a pleasure to welcome y'all to the Union Church of Pocantico Hills, Spousal relationship Church building of Pocantico Hills website, accessed 30 July 2010
^ Schneider, Pierre (1984). Matisse. New York: George Braziller. p. 740. ISBN0500091668.
^ Butler, Desmond. "Art/Architecture; A Home for the Modern In a Fourth dimension-Bound Urban center", The New York Times, ten November 2002. Retrieved 25 December 2007.
^ The Modernistic Acquires a 'Lost' Matisse, The New York Times, 8 September 2005
^ "Marguerite Duthuit, a Model In Art of Matisse, Her Father", New York Times, 3 April 1982
^ Russell, John (1999). Matisse, Begetter & Son. New York: Harry Due north. Abrams. pp.387–389 ISBN 0-8109-4378-half-dozen
^ Metropolitan Museum exhibition of works from the Pierre Matisse Gallery, accessed online twenty June 2007 Archived nineteen February 2009 at the Wayback Motorcar
^ Most oftentimes requested artists list of the Artists Rights Social club Archived 6 February 2015 at the Wayback Machine
^ "Musée Matisse de Overnice Cimiez" (in French). Nice Trotter. Archived from the original on 13 February 2013. Retrieved 21 June 2011. on 22 March 2021
^ "Matisse looted by Nazis turned over to British charity". {{cite web}}: CS1 maint: url-status (link)
^ "Matisse From Gurlitt Collection Is Returned to Jewish Art Dealer'due south Heirs". world wide web.lootedart.com . Retrieved 30 April 2021. {{cite web}}: CS1 maint: url-status (link)
^ "Une toile spoliée quitte la Chaux-de-Fonds après un long combat". www.lootedart.com. Tribune de Genève. Archived from the original on 1 May 2018. Retrieved 30 April 2021.
^ "Lost Art Internet Database - Advanced Search". www.lostart.de. Archived from the original on 30 April 2021. Retrieved thirty April 2021.
^ Henri Matisse: The Cutting-Outs, Tate, archived from the original on 10 March 2015, retrieved 28 February 2015
^ Henri Matisse: The Cut-Outs, Museum of Modern Fine art, retrieved 28 February 2015
^ Henri Matisse exhibition is Tate'south most successful fine art evidence, BBC, fifteen September 2014, retrieved 28 February 2015
^ Henri Matisse: The Cut-Outs, Museum of Modern Art, retrieved 28 February 2015
^ Nan Robertson. "Modern Museum is Startled past Matisse Film" New York Times, 5 December 1961.
^ Find WorldCat; sudoc^{[ permanent dead link ]}; BnF Archived three June 2016 at the Wayback Car. 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.´
^ Child, Ben (14 February 2011). "Al Pacino to play Henri Matisse". The Guardian . Retrieved 29 April 2012.
^ Battaglia, Andy (11 January 2015). "Matisse's Cut-Outs, Now Screening at a Theater Nigh You". The Wall Street Journal . Retrieved 7 April 2014.
^ "Etelä Suonem Sannomat" (PDF). Archived from the original (PDF) on 4 June 2019. Retrieved 4 June 2019.

Bibliography [edit]

Barr, Alfred H., Jr (1951). Matisse: His Art and His Public. New York: The Museum of Modern Art. ISBN978-0-87070-469-7. . Matisse, his art and his public at the Internet Archive.
Berggruen, Olivier; Hollein, Max, eds. (2006). Henri Matisse: Cartoon with Scissors: Masterpieces from the Tardily Years. Prestel Publishing. ISBN978-3791334738.
Celdran, F.; Vidal y Plana, R.R. (2007). Triangle : Henri Matisse – Georgette Agutte – Marcel Sembat. Paris: Yvelinedition. ISBN978-2-84668-131-5.
Cowart, Jack; Fourcade, Dominique (1986). Henri Matisse: The Early Years in Nice 1916–1930. Henry North. Abrams, Inc. ISBN978-0810914421.
Escholier, Raymond (1960). Matisse. A Portrait of the Artist and the Man. London: Faber & Faber.
Gowing, Lawrence (1979). Matisse. New York: Oxford University Press. ISBN0-19-520157-4.
Finsen, Hanne; Coquio, Catherine; et al. (2005). Matisse: A Second Life. Hazan. ISBN978-2754100434.
Lewis, David (January 2009). "Matisse and Byzantium, or, Mechanization Takes Command". Modernism/modernity. xvi (ane): 51–59. doi:10.1353/mod.0.0047. S2CID 144631296.
Russell, John (1999). Matisse, Father & Son. NYC: Harry N. Abrams. ISBN0-8109-4378-6.
Schneider, Pierre (1984). Matisse. New York: Rizzoli. ISBN0-8478-0546-8.
Spurling, Hilary (1998). The Unknown Matisse: A Life of Henri Matisse, Vol. 1, 1869–1908. London: Hamish Hamilton Ltd. ISBN0-679-43428-3.
Spurling, Hilary (2005). Matisse the Master: A Life of Henri Matisse, Vol. 2, The Conquest of Colour 1909–1954. London: Hamish Hamilton Ltd. ISBN0-241-13339-4.
Wright, Alastair (2006). Matisse and the Subject field of Modernism. Princeton: Princeton University Press. ISBN0-691-11830-2.

External links [edit]

Matisse and his Cats
Footage of Henri Matisse in Vence, France working on the New Chapel of Vence
Henri Matisse: Life and Piece of work 500 hi-res images
Henri Matisse at the Museum of Modern Art
Musée Matisse Nice
The nude in Matisse
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 Archived 17 January 2015 at the Wayback Car 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
Barnes Foundation, Philadelphia

stewartmilive.blogspot.com

Source: https://en.wikipedia.org/wiki/Henri_Matisse