The World of Matisse 1869-1954

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The contrast allows me to give the light its maximum vitalising value, to make it the essential element, colouring, warming and animating the whole structure, to which it is desired to give an impression of boundless space despite its small dimensions. Throughout the chapel every line and every detail contributes to that impression. That is the sense, so it seems to me, in which art may be said to imitate nature, namely, by the life that the creative worker infuses into the work of art. The work will then appear as fertile and as possessed of the same power to thrill, the same resplendent beauty as we find in works of nature.

Great love is needed to achieve this effect, a love capable of inspiring and sustaining that patient striving towards truth, that glowing warmth and that analytic profundity that accompany the birth of any work of art. But is not love the origin of all creation? Matisse — contributed this article to the 6 February Art News and Review later to become ArtReview , the cover of which featured a report on an exhibition of child art in New Delhi and an artist's self-portrait by an anonymous eleven-year old.

Neither so anonymous, nor so young, Matisse died nine months later. During the 's artists, including Victor Pasmore and Patrick Heron, authored a significant proportion of Art News and Review 's articles. Made by Grandad. From the archive. Henri Matisse The Snail On display at Tate Modern part of Start Display.

Henri Matisse Notre-Dame c. Henri Matisse Studio Interior c. Henri Matisse Reclining Nude Henri Matisse Reading Woman with Parasol Henri Matisse The Inattentive Reader Henri Matisse Back I c. See all Artist as subject Left Right. Kitaj Mort View by appointment.

Bernard Meninsky Notebook date not known. Graham Sutherland OM Sketchbook 37 [c. Film and audio Left Right. Flavia maps the trajectory Features Left Right. Tate Etc. Art Term. Tone The lightness or darkness of something — this could be a shade, or how dark or light a colour appears. The idious Miss Etta once typed a complete letter by letter.

Matisse repaid the Cones" loyalty with the deep but undemonstrative affection that he reserved for people. Michael Stein. Sarah Stein was also responsible for the short-lived but immensely successful Academie Matisse. She had long been in the habit of showing Matisse her. Most of them, however, were people of no particular gifts who would never make a go of it as painters but them. Matisse, walking in, exclaimed,.

He insisted on exact measurements, and on the use of the ruler and the plumb line. He forbade them to use color loosely, with-. Sarah Stein's classroom notes are a uniquely revealing record of. In he carried this process one step further by putting his ideas into writing, in an article for the mag-. To Matisse, the whole point of a work of art was its power to imitself upon the viewer's imagination: "When I look at the frescoes.

At his few exhibitions his paintings were jeered at for their implausible colors, two-. But Sergei had an eye for the different. Moscow home.

Matisse, Life in Color: Masterworks from The Baltimore Museum of Art

As the theme for Dance, Matisse returned to his monumental Joy of Life, extracting a circle of gay. Here, however, he emphasized their rapt concentration, their absorption. He did not even exhibit the two paintings shown here until many years after he had completed them. Although he never explained why he held them back, it may have been that Matisse wanted, or needed, to keep them because each represented a significant experience in his.

He had an infallible eve. And when Matisse introduced elements of Islamic design into his. But the phrase could have applied equally well to acquisitions of quite another sort. Even the most favorable reended with the comment that the one response to all the pictures. But no modeling of form, no modulation of light, defines the lay of the land.

Instead of using perspective to build his composition, Matisse used a series of pictorial analogies. Their bodies were a pleasant sandy color, faintly tinged with pink from the physical exertion, but they were not too immersed in their activity. Would Matisse take back the paintings and redo them, one-third vate apartments, so. Carpets, wallpaper, upholstery fabric, even the tiles that frame the fireplace. Yet the room reads as a room because of the subtle way Matisse has laid in its furnishings. Some of them are obviously against a back. Reporters interviewed him on the station platform and followed him everywhere, and an eager public hung on.

Shchukin's and an exhibition, several years before, of modern French painting, but through his. Thev had come from Berlin, Frankfurt. Albert Barnes. Matisse had seen. In the bright. Typically, however, he continued to pursue his constant goal, the big picture, the masterpiece,. In this had led to The Dinner Table, in to. The Open H indow it. Matisse could have gone on from this picture to invent a totally nonobjective art, but he was too typically French to push that far ahead of society. France he knew best: his home, his family, his garden.

Issy-les-Moulineaux's zigzag-patterned. Both pictures, however, derived from reality pictures of Matisse's. Although Matisse was no adventurer, he did come away from North Africa with very strong and exact impressions of the. Now he wanted to paint his own private memory of Two large paintings resulted: Bathers by a River page. The Moroccans was wall-size, 70 10 inches, and Bathers by a Hirer was even larger, by inch-. Bathers by a River and The Moroccans arc not illustrations; they are monumental images.

He exercised regularly, particularly by rowing. He became an enthusiastic member of the Club Nautique, and could often be glimpsed pulling steadilv out to sea, a square-built man in a single During one nine-month period he went rowing no fewer than. And when the annual carnival season came around, he resigned himself to posing them so that.

He took it down to its bare bones. The room itself is divided squarely down the middle into a light area and a dark area, and both areas are plain to the point of austerity. The model has been reduced to an anonymous female figure sitting in a chair, and the artist himself, in the foreground,. But the greatest pictures of the Nice period are those of indoor scenes, in which there tiful. The Nice pictures were portraits of total fulfillment, serene in the way that Matisse had always wanted his pictures to be. Every part of each painting was as important as every other part; there were no areas of climax and no areas in which the touch.

Although the things he chose to paint were things that always charmfreshly picked lemons, newly sunlit sea,. This achievement would have been enough to satisfy most people, but not Matisse. Something was lacking in the Nice pictures that had. In , as if to set the record straight, he brought some of them out. Shchukin pages But in the finished version. By the ninth version, the background is completely flat and the has been moved so far forward that both feet and an elbow run off the canvas.

In the picture at flower. But it is not always easy to of finding a light stronger and. Tahiti also confirmed his lifelong conviction that colors only achieve their identity in relation to. Horatio Walker. From a. Why do American painters go abroad when they have scenes of such varied beauty at home? He had gone on buying throughout the s, with the result that his Matisse holdings were now the largest in America. Barnes was a difficult man with a brutish manner and a positive mania for man-toman controversy.

Nevertheless he could hardly have put his enormous fortune to better use. These were only a few of the major paintings that greeted Matisse as he.

The World of Matisse 1869 1954 Time Life Library of Art

The commission came Matisse never portrayed physical agonv until. January he sent Dr. Barnes an unequivocal "yes," rented a deserted film studio in Nice, and got. During his preoccupation with tbe Barnes mural, however, these gifts vanished from view. Bevisitor who was permitted to enter the studio found Ma-.

The flow of energy, moved from right hich in version I. While the Barnes mural. They are completely unalike, and the point of the juggler's art is he makes the spectator see harmony where none existed before. In the first version the. In the s, Matisse used his drawing and his inherent sense of design to books, thus linking himself with the other painters from.

In much the same way he became totally involved when he designed the interior of the. Baudelaire and Edgar Allan Poe, the poets literary idols, laced pages ol Mallarme's opaque elusive verse. Offering to. For Matisse, the challenge was that of creating a graphic poem, expressing a complex idea in a rigid. Dominic, the order's founder, that towers beside wall, the Virgin. Matisse could not be gulled into cooperating with the Germans during the occupation, but neither could he be stampeded into.

But he turned down every offer. In , with a visa in his pocket for Bra-.

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The Dominican sisters who nursed him spoke of him as "the man who came back from the dead. Before long he was working as hard as ever, from nine to twelve every morning, seven days of the week, and again. A prisoner of his own self, prisoner of a way of paint. Madame Matisse was sentenced to six months in prison in Troyes. At Vence, Matisse found a new project to occupy his mind.

Ever since his hospital stay at Lyons he had wanted. The chance to put art into the mainstream of life has tempted many modern painters to accept large-scale commissions for public buildings, but few have done so successfully. Picasso will not be his. When that dreaded day came, there would still be a way he could make pictures perface the day. I had someone tie the charcoal to the end of that fishing rod over there, and then. Matisse's shears cut into his imagination as well as into the paper.

In the cut papers Matisse finally realized the ideal of pure color that. Matisse came upon colored cutouts almost by accident. In the s he had used paper models to help design his paintings,. Delighting in this discovery, he his later years with a whirlwind of. Sludio Madonnes Musee Matisse. Helene Vdant. Guggenheim Museum. Dodds; Robert. Hessisehes Lindcsinuseuni. Barr Jr.. Georges Duthuit, Paris. They also wish to thank Colette Audibert, Curator.

Musee Matisse of Nice-Cimiez; Mr. Alfred H. Barr Jr. Homer and the Shepherds, 18 Corsica. Matisse's honeymoon in, 30 Costume lor ballet dancers, ; lor,. In his Matisse farm! Vmong his numerous Donatcllo I I 15 for the entire pn ture. I is front I, in "t Nice between the two bright with the southern sun. Manle John D. McSweeney Exet utive ' Gar! Jaeger, ice Presidents John Steven Maxwell. Littles urman; Joan time members the Slipcase hespeetai led h visiting. Director of Photography. Robert tssistant r.

Shepley whs I hi Vems and other found expression interesl in travel has on Shakespeare's country, Paris and Switzerland. Paul R. Dorothy Bacon London ; Susan Jonas. Michael G. All right- reserved. Cox T. Ann Natanson Home. Operations Manager: ; Jeanne Potter Simon may be quoted for reviews. Fifth printing. Revised Published simultaneously in Canada. Library of Congress catalogue card School and number Sedan in , and Arras in , are grim names in the annals of war, and although Le Cateau itself has quite a bit of style, with an 18th Century archbishop's palace and king-sized formal gardens, the region around it is turnip country: Hat.

Le Cateau has ground, sacked, shelled, bombed from the to the air and stormed by assault. Coal mining and the Industrial Revolution have also done their worst. Altogether it takes character to live in this part of France and not go under. But character is what just Cham- inhabitants have always had. In business they give nothing away, but they can be relied upon. Ma- placed work quickly. His business prospered, and though he was never by the time young Henri was within sight of the end of his schooldays, Emile Matisse could afford to think of entering his son in one of the learned professions.

Thereafter he was sent to the lycee in Saint-Quentin, a west, where he studied Latin and Greek. He had no clear idea of what he wanted to do. No marked inclinations characterized special aptitudes or strongly sober progress from one school things, to the next. People told him to do and he did them, with nothing more than and an untocused anxiety a persistent he had not found his true in particular at a No one conservative pace.

At 16, Matisse nowhere to suggest that his "born to would one day change the whole course that he art. Others ways with relation and they try do to al- they know what Frenchmen have done, to the past; over again. Matisse, on the contrary, knew that it what has once been done supremely well cannot be repeated. Twice over in his it own lifetime he renewed the whole , at the Salon first in field of painting. B 'ut Matisse as a boy gave no promise of any of not even appear interested in tin.

Neither does he appear time of the this. In fact, at this stage of his life have been aware to which was not far from which contained a famous painting by Goya, as well his took at the home and as others by major Dutch and Flemish masters. The public buildings of Le Cateau had kind of ordered and measured dignity that may have impressed upon him as a desirable quality to seek in other departments of life. Just as conceivably, Matisse may have seen them as the triumph of patience, planning and coordination over forces usually allowed to run based on the artists later activities: no proof for any of In the He went fall riot.

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Emile Matisse sent his son to Paris to study law. Georges Seurat, II. But almost nothing. Art of that kind in of this the general public knew those days was not a topic of public and there were no newsmen or television cameras interest, Gauguin idea of the south. Paul the island ol Martinique to question the visit to over to peer To most people, painting meant the historical set-pieces, fraudulent exoticisms and banal moralities, which were be- the painter's shoulder. Having formally completed and took It whose names are now forgotten. Matisse, cared for neither good painting nor bad, saw no reason to linger in his law studies, he was dozy, unresponsible work.

A lawyer's clerk did what a Xerox machine does now. Since bulk rather than content to went back north a job as a clerk in a lawyer's office in Saint-Quentin. Henri Matisse was twent when he photograph with his mother files, and Matisse's employer did not complain. At 20, Matisse was embarked in a small way on a professional career, and his future, though not brilliant, could have trundled on had not.


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The effect was prodigious. The dullness dropped away, and Matisse "free, quiet tic, and alone. It led me. He Some charming, though rather incidental rule telegraph form ami was secure. There was powerful still an art — so much so that a living outside But it. New kinds of were coming into being that art could not be reconciled with the frockcoats and potted palms of the ditional Salon. In fact, a was founded Arts, re- tra- new Salon, the Societe Nationale des Beauxwork of these new artists the very year to exhibit the of Matisse's "conversion.

Nothing today could seem more felt about expressive of health and well-being than such great Impressionist paintings as Manet's Bar at the Folies-Bergere or Party or Monet's Terrace of Sainte- Renoir's Luncheon of the Boating idresse. Simply to look at these how agreeable life must have been at that when they were first exhibited, most people regarded paintings makes one think time.

But, in fact, them as immoral daubs — flashy, inept and practically incomprehensible while those most qualified to judge regarded them, repudiation of everything that mattered. Impressionists, on the contrary, staked everything on the actual and previouslj unrecorded look ot things. He was required to be absolutely passive toward nature, to become, as Cezanne said ol Monet, "only an led b the award-winning staff, painter Adolphe as truthfully as possible.

Unlike the Impressionists, for pable, space was something vaporous and impal- Cezanne regarded space This helps explain home whom in why he as something to be cut into, like marble. But regardless of sub- ject, in all his paintings he went all out for firmness and hardness and calculation. Seurat, too, reintroduced calculation into painting. In fact, he went 10 much farther than Cezanne, for he believed in the scientific analysis of color as well as of space, and he used mathematical formulas to quite sure that the final effect of his composition was what he make intended to be.

In fact, Gauguin in was a profoundly serious man who wanted He took what seemed to the art of his time. He turned Peruvian to idols, to ture, to Japanese prints, to ancient Egyptian Romanesque and Assyrian sculp- art. Consequently he began his new career by enrolling in a drawing class in Saint-Quentin. He attended class religiousl and began to draw everywhere, all the time. Now school philosoph : excellence nature. Earl to his father that It new-found vocation.

IM'M in the Vcademie Julian, reflect prevailing art - unimaginative copies, from was almost meaningless it Matisse for long. Emile Matisse decided even gave him in Paris, this that he mous a man. Never- and his son try his luck, modest allowance. In October , Matisse was back time as an art student.

His father was encouraged to hear was taking lessons from Adolphe Bouguereau, then the most painter in France, but Matisse soon had other ideas about his now teacher. Bouguereau's paintings fa- new look both lascivious and picayune, with their agglomerations of female nudes and their soapy, standardized methods of presentation. Matisse was not impressed by them. He was even less impressed by Bouguereau's lordly way of copying himself over and over again before an admiring audience. Matisse did not want a copyist: he wanted to get to do so was that the only place to official, the bottom of government-supported I he Ecole des Beaux- to be Before long he realized art.

Matisse was rejected as applied for admission. Subsequently he took to sketching, along with other aspiring art i-t -. At first to their up at 66, had just sight of Matisse's drawings, reau issued a fateful invitation. But there was one exception. Gustave Moreau. Most ian masters, casts of Renaissance of the '"master-"" w ho passed through the courtyard on the said, beyond the famous library, a my class if Mo- you want to. The above lithograph of Moreau, by Matisse's classmate Georges Rouault, was most likel inspired jaunty photograph at top. Rue de la Rochefoucauld that ting himself off above mere technical competence, strongl among young Matisse.

Gut- from the outside world, Moreau stantly and, at his death in Moreau in his art was indifferent to the modern world, and chose in- stead to portray a world of pure fantasy. Poets and "decadent" novelists took particular delight in like J. Huysmans Moreau's sumptuous imaginings. Others, humbug about however, thought there was something the normal world. The tender attention he lavished In on all his rejection of Edgar Degas, said his old friend his students may well have been an outlet for the homosexuality he dared not express. But his classes mous the Beaux-Arts quickly became at enthusiasm he aroused for the Moreau was the talents he uncovered.

At a time when every other teacher on the Beaux-Arts faculty detested his ideas, Moreau was the school's one civilizing influence. Matisse never torgot his vears with Moreau. Years later his eyes would mist over at the mention of his name, and he could draw an exact memory plan of the classroom from ture was where the like, students meant er, was a up kept much light to him.


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Tiny of a well-slocked Rouault, a painter of much greater gifts whom he bought he his all and neatly ordered mind. Rouault was deeph religious and profoundly concerned with the woes and iniquities Even a major paint- London , outspoken by nature, in Bussy was possessed in stature fellow his one of the few people with clothes in a British schoolboys' shop to Matisse. Three of Simon Bussy. Moreaus was Albert Marquet. He was class whom six vears ready had eight years of art training; at Matisse came to know Matisse's junior, but had al- 15 he had been admitted to the Eeole des Arts Decoratifs.

Marquet had a slight lv deformed leg and wore thick, heavv-rimmed spectacles, which and gave him a dreadful time to him, were lense he had in school. In self-de- and withdrawn. As a boy he had wandered alone for weeks on end along the Bordeaux waterfront, sketching ev- erything that caught his fancy. All his of what the French call la life he was a marvelous reporter chose rue. There was never anything about him of the easygoing bohemian. But after he met Marquet, the two of them used to go out together in the evenings, along 13 the streets of Paris, covering sheet after sheet of paper with little thumbnail sketches.

To Matisse, whose notion of drawing was related exclusively to the sober, concentrated work of the schoolroom, these sketching excursions to the cafes, bars and music halls were invaluable. He had no spare time, sense, and his efforts all in the conventional were directed towards the two days of the week, Wednesday and Saturday, when Moreau corrected his students' work. Not that Moreau was a tyrant: far from it. There was no non- sense about Authority with a capital A, or about Standing with a capital S when he came into the classroom, and his presence was certainly not imposing.

One acquaintance, seeing him on the street, observed that he looked like "an obscure country gentleman who had come up to Paris show. On some students, Moreau's teaching was wasted. Fewer than one in 10 had any real talent. Those whose formed compact group a less likely to disturb at rest were lazy or boisterous or ungifted, who were "in art" for what they could get But every one of them, genius or dullard, idler or workhorse, it.

The or were immature careerists out of names have gone down when Moreau members spoke. Unlike other whose teaching was based on of the a fixed hierarchy of values in which their own work stood somewhere near the top, Moreau never mentioned his own paintings. And he was constantly shifting ground.

He his took his students to the Louvre as often as possible, and once there kept their imaginations on the move. One day he would speak to them of the glowing colors of the masters of the Italian Renaissance, in whose work he knew well from a trip he had taken to Italy with Edgar Degas. The next day he would suddenly exclaim, "You know little when I'd give everything possess for one Rembrandt's mud. One marks can be life, new painters set, like after another of Moreau's re- mottoes, beneath the great paintings of Matisse's Moreau would say, "is simply an opportunity for Or again: "Think your color!

It was useless, he pared with nature's. In the words of Rouault, Moreau be- lieved that the exceptional student could be taught to "discipline his will without reference to preconceived method, and to remain true to his inner vision. He was not yet ready to think of putting aside preconceived method.

He wanted from learn but it inside: to learn from the Old Masters, and he wanted by copying their work. Copying can be a drudgery, can also be an adventure in understanding. Matisse chose his models with care. Although he loved the Goya painting of two in Lille, for instance, about, I imitate most to think its I can do and once said of it too! The it, knew that to set is no beginner could hope to pictures he chose to copy were, for the part, painstaking reconstructions of had tried women "If that's what painting down what they saw Dutch and Flemish masters were everydav life by painters as accurately as possible.

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Much later who The he spoke of "the scale of silvers and grays, so dear to the Dutch masters, from Gustave Moreau's class oi puses on the steps of the Ecole des Beaux-Arts lor a serious portrait one student at upper mockleft is solicitousl helping the statue blow itsnose Rouault stands, bewhiskered and bareheaded, which my I learned to make light sing out in values precisely in tune. Matisse 26 could scarcely have been taken for either at He seemed prodigy or a rebel in the making. His one painting of any consequence during this period bears this out.

It him and Classroom, a scene very tamiliar to ing. Matisse did very well with these things, putting them all And he maneu- together in an easy but unconventional relationship. But of Matisse the revolutionary colorist there was, as yet, no trace. In , Matisse moved downhill from the Rue des Ecoles St. His room was to high up, near the roof, and his neighbor across the landing was another young Wery. Wery was no genius, but he was painter, Emile with things and made his business to be it novel long before they were much from their encounter. But He had his for the own Pont-Aven his friends.

In fact, Wery were much good came moment Matisse did not want to be self-imposed program, and cerned with the art of the past. In the village of in Brittany, touch publicized. Matisse and each aware of what the other offered, and eventually distracted. But instead of being influenced by this, he went ahead patiently and quietly as though Gauguin had never existed, working on the paintings he meant to submit to the Salon of the Societe Nationale des Beaux-Arts for exhibit the following spring.

World Of Matisse 1869-1954

This was the public showing of his work, and the pictures amounted first to a catalogue of Matisse's current enthusiasms. Two of the paintings. Roger Marx, for instance, was a of the committee that purchased copies of Old Masters to be over France. Russell was a friend of Monet and Van Gogh, and he often talked to Matisse about them, telling own work him what they were how they about it.

Matisse was too persisted in their they valued above sell all regardless of else their between the sensitive an artist not to be struck by the difference titude of Monet and Van Gogh and the attitude of the Establishment. There was, however, no immediate change did experiment with pure color in in his own own sensations, young woman in local costume bending over with bottles, dishes and a loaf of bread.

It a table laden was. B heton Serving Girl was prepared especially for the Salon when people still in time at a expected Salon pictures to be carefully worked over, with every inch of canvas then Ma- major painting that summer was Breton Serving Girl page 24 , a picture of a rior Although he art. People lived crowded, complicated interiors. The average bourgeois home was packed with silks and brocades and tapestries, with elaboratelv shaded lamps and tables groaning with knickknacks; there was a real horror of emptiness.

Not surprisingly, the ideal Salon picture contained a knight in armor, a group of cardinals, some tropical vegetation, some counterfeit stained glass, a medieval feast with every dish and goblet shown in meticulous detail, a distant view of Constantinople through a window in the background, and in the foreground, three or four naked women, dancing. Matisse did not go along with this sort of thing wholeheartedly, but he did feel bound to offer a well-furnished picture.

Jan Heem, the 17th Century Dutch master whose work Matisse often copied, would have admired the sheer variety of objects that Matisse managed to get into this picture. Along with the hat of the title, it contains a desk top heaped with books and papers, porcelain vases of 17 various textures, a lamp, a glass bottle and tumbler, and a wall and touchable, cied. It is as if in the fall of , suggested to him that it Gustave Moreau took Matisse aside and was high time he risked himself on a There were several reasons for tant painting.

Sometime him filled somehow with paintings and picture frames. Canvases such as Gericault's Raft of the " Medusa.

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This prize, which was open years in to all art Rome at still exists, students and entitled the winner to study for several the expense of the French government. Lodged, fed and generally looked after in the Villa Medici, one of the world's great houses, winners of the prize had the run of what was then regarded as the supreme repository of Western art. Over and above these material benefits, the Prix standing start gifts. Rome marked de To have won over his contemporaries, and ademic or government post, man for life as a person of outRome gave a young painter a head a a Prix de if he applied for an ac- in later life "former Rome prizewinner" was the strongest of recommendations.

In any case, few young dared artists think of their future in terms that ignored the existence of this official road to success. It's "What makes it so pernicious," he said, "is the preparation For one student like Rouault, there who and remained ineffectual Rouault's example lost who had a good head on his shoulders, the chance of becoming normal citizens artists for the rest of their lives! Rouault had tried twice for the Prix de ing out Rome could scarcely contain himself on simply an apparatus for sending the student out of his mind.

Le Chantier. Rouault's childhood and youth in the working-class quarter of Paris in this painting: he saw torical it, he meant likened its depth and breadth of vision to Shakespeare's "In this painting. Moreau, when as it of Rouault, to his- "you are Shakespeare's countryman. His art was then, as cial it that he himself was Rouault had put effort was not meant for such without any so- to remain, entirely or political or religious commitment.

Matisse did not aspire to change society, or even talk politics, and he olutionary, his art of family life, women tiful to leave a portrait of lived it. No one ever heard him and died an unbeliever. Even was traditional in subject matter: at its most rev- he painted pictures of tables laden with good things to eat and drink, of beautaking their ease in surroundings. His paintings an earthly paradise. Consequently, when Moreau challenged him to produce a big picture for the Salon, Matisse turned to one of the great recurrent themes of French painting: The Dinner Table.

Matisse's table that of a well-to- is do household with a faithful maidservant, familiar to readers of French literature from Moliere to Proust. The maid flowers; the silver has been cleaned until it giving a is wine abundance. A last touch to the sparkles; the fruit, hand- piled high in the center of the table; there picked, in is is red and white sense of order and well-being and fastidious op- ulence pervades the whole scene.

The Dinner Table pages conveys, among other things, the vast improvement still lifes in Matisse's technical apparatus. Its are carried off with a brilliance that Girl look timid and stiff. He knew, for instance, how to keep the picture from straggling away edges. The picture had attempted before.

It is is bolder and firmer than anything Matisse also his salute to Impressionism, whose in- fluence he had been able to assimilate in a very short time.



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