6. A ROOM OF ONE’S OWN. VENCE, represented for Matisse the ‘summation of a CATALOGUE whole life’s work’. He designed the entire decor TEAM THE LAST INTERIORS of the chapel, using his process of gouache CENTRE POMPIDOU HENRI MATISSE. A new country cut-outs. With the reflection of the brightly- Edited by Aurélie Verdier coloured stained glass on the black and white CURATOR Co-published by Centre Pompidou and the Public designs of the wall tiles, at the end of his life Aurélie Verdier, Curator of Modern Collections, Agency for the Management of the Casa Natal of Pablo Ruiz Picasso and Other Museum and HENRI MATISSE Matisse found a final balance between drawing Mnam-Cci Cultural Facilities, Málaga City Council and colour. ASSISTANT CURATOR 80 p., 66 ill. Anna Hiddleston Design : Xavi Rubiras for La Nevera Comunicación A NEW COUNTRY

COLLECTION MANAGER Aurélie Sahuqué 6 MARCH – 9 JUNE 2019 ‘The importance of an artist is to be INFORMATION REGISTRARS measured by the quantity of new Marion Julien OPENING HOURS signs which he has introduced to the Mélissa Etave In the course of over sixty years, Henri This exhibition showcases the experimental 9.30 a.m. to 8.00 p.m., every day language of art.’ ART RESTAURATION Ticket offices close at 7:30 p.m. Matisse (1869-1954) produced a body of side of his work and retraces the path, The museum is closed on Tuesdays (except work that was to have a profound impact on through six chronological sequences, of this Henri Matisse, 1942 Sophie Spalek holidays and days before holidays), 1 January and the modern perspective and would establish key artist of modernity. From his early days 25 December him as one of the major artists of the 20th in the 1900s, in the shadow of his masters, CENTRE POMPIDOU MÁLAGA century. He expressed his art through a via the solitary and radical path of the period PRICES Public Agency for the Management of the Casa Entry to permanent exhibitions: variety of techniques which he explored 1904-1917, the ‘box of light’ of the Nice Natal of Pablo Ruiz Picasso and Other Museum €7, concessions: €4 tirelessly; painting, drawing, sculpture, years, to the modern language of the 1930s and Cultural Facilities, Málaga City Council Entry to temporary exhibitions: illustrated books and the remarkable and the interiors of Vence and the Chapel of €4, concessions: €2.50 invention of drawing in colour, with the the Rosary, Henri Matisse’s career is marked COLLECTION MANAGER Entry to permanent and temporary exhibitions: gouache cut-outs he created towards the by masterpieces, those new signs which the Elena Robles García €9, concessions: €5.50 Grand intérieur rouge [Large Red Interior], spring 1948 end of his life, and which were so rich in artist aspired to and which have become ARCHITECTURE AND SCENOGRAPHY Oil on canvas, 146 × 97 cm CONTACT artistic consequences. universal today. State purchase, 1950. AM 2964 P Francisco Bocanegra Pasaje doctor Carrillo Casaux, s/n (Muelle Uno, Puerto de Málaga) During the war years, Matisse moved to Vence GRAPHIC DESIGN ‘I have several paintings in Enrique García Puche T.(+34) 951 926 200 in the hills above Nice, and settled into Le [email protected] progress. I am as curious about Rêve, a villa surrounded by a lush garden. He CONSERVATION [email protected] colour as one would be visiting a survived a serious surgical operation in 1941. Paula Coarasa Lobato new country, because I have never Filled with new energy, he worked extensively Laura Gaviño Fernández concentrated so closely on colour Elisa Quiles Faz and experimented with various techniques, centrepompidou-malaga.eu expression. Up to now I have waited in particular paper cut-outs which allowed INSTALLATION at the gates of the temple.’ him to ‘draw directly in colour’. Between 1946 Installation team of the Agency and 1948, he undertook his last great series Henri Matisse, 1947 CORPORATE IDENTITY of paintings, known as the Vence Interiors, Gloria Rueda Chaves which combined still life, landscape and studio scenes. The relationships between line © Succession H. Matisse/ VEGAP/ 2019 and colour run through the paintings from this period, creating a space which was now fully unified. On his return to Nice in 1949, he immersed himself in a major commission, the Chapel of the Rosary in Vence, which knowledge of the Orient, his trips to Algeria and the 1920s saw a lull in his inspiration. As At this time, Matisse also began to have the 1. WITH AND AGAINST THE MASTERS. 2. ‘SIMPLER MEANS’. with his models as the ‘source of [his] energy’. Morocco and the craft objects he brought back he would do periodically, he reassessed his successive steps of his paintings photographed, As of 1914, he used black in abundance, which EARLY DAYS AND BREAKAWAYS THE FAUVE AND ‘PRIMITIVE’ with him. Through this research, he eliminated knowledge. to better analyse them and enrich his visual he considered to be a colour in its own right. the duality between figure and background and design. This form of documentation also (1900-1903) PERIOD (1905-1909) This vibrant hue, the famous ‘black light’, affirmed that all the elements of a painting must reveals the long and complex creative process contribute to its expressivity. dominated some of his most radical portraits. 5. MODERNITIES. THE 1930s of his paintings, as well as the efforts which In the winter of 1917, he discovered Nice led to the simplification of strokes and and the Mediterranean light, a revelation for composition. this native of northern France. He began to 3. THE CHOICE OF RADICALITY. divide his time between Nice and Issy-les- PORTRAITS AND FIGURES (1909-1917) Moulineaux, near Paris. A new period began at the end of the war in 1918, corresponding to a sort of truce after more than a decade of radical experimentation. ‘I worked for years […] so that people could say: Matisse – there´s nothing to it…!’ 4. NICE, INTERIORS, Henri Matisse, 1943 FIGURES (1917-1929)

Étude de deux visages [Study of Two Faces], [1906-1907] Graphite lead on paper, 21,3 × 18,2 cm Donated by Marie Matisse, 1984. AM 1984-62 Madeleine II, [1903] Lost wax bronze casting, dark patina, 59,5 × 18,5 × 20 cm Accepted in lieu of tax from Pierre Matisse, 1991. AM 1991-284 In 1904, Matisse was attracted for a time by Nu rose assis [Seated Pink Nude], [April 1935 / 1936] Oil on canvas, 92 × 73 cm Paul Signac’s divisionism, but he soon saw the After a few years spent as a notary’s clerk in his Accepted in lieu of tax, 2001. AM 2001-215 limits to this pictorial method which prevented native northern France, Matisse defied paternal the communion between drawing and colour. authority to live his true vocation as a painter. In His exploration of colour reached a decisive 1930 was marked by a decline in the volume of 1891, at the age of twenty-two, he moved to Paris Odalisque à la culotte rouge [Odalisque with Red Trousers], [autumn 1921] moment in the summer of 1905, during his Oil on canvas, 65,3 × 92,3 × 2,5 cm his work and a desire to travel. Matisse visited and embarked on a long artistic apprenticeship. State purchase. Attribution, 1923. LUX 0.85 P stay in Collioure, near the Spanish border. In New York, then Tahiti, drawing new energy from The academic education he received at the Académie Julian and the École des Arts the same year, his work was exhibited at the these locations. From 1931 to 1933, he devoted Salon d’Automne, alongside that of Derain, himself to drawing, prints for book illustrations Décoratifs was too rigid to his liking. It was Beginning with his stay in Nice in the first Gustave Moreau’s workshop at the École des Marquet and Manguin. The young group of and above all, a commission from the American Le Violoniste à la fenêtre [Violinist at the Window], [spring 1918] half of 1918, Matisse’s painting underwent beaux-arts that would allow him to forge his own painters, known as the ‘Fauves’, caused a doctor Alfred Barnes for a mural painting in Oil on canvas, 150 × 98 cm a profound change, with a renewed interest identity. During those years of training, Matisse scandal with its ‘orgy of pure colours’. Despite Purchase, 1975. AM 1975-260 his house in Merion, Pennsylvania. It was to be in form and the influence of the soft light continued to copy the masters of the Louvre, a slating in the press, Matisse took his radical La Danse [The Dance], in which Matisse would pictorial experiments even further. In the In the portraits he painted, drew or sculpted in his Nice workshop. The female body while at the same time, the freedom encouraged use his paper cut-out process for the first time. milestone years 1904-1906, he moved away during this period, Matisse pursued his quest was an endlessly recurring theme in his by Moreau fed his stubborn and rebellious His studies for this ‘architectural painting’ were nature. He was influenced by Turner’s and Van from the imitation of nature to concentrate for an expressive line and consolidated the 1920s work, as was the seminal motif of the based on the balance of its composition, the Gogh’s use of colour and accentuated light, on the expression of feeling. The discovery of analytical aspect of his work. Matisse’s primary window. Matisse transformed his models arabesque line, extreme stylisation of bodies and as of 1899, Cézanne’s work finally freed African statuary art influenced this shift and subject, the one he came back to time and again into Oriental odalisques, adorned with and the relationship between pink and blue him of his last academic instincts. His artistic guided him towards a simplification of the throughout his career, was the figure, whether colourful fabrics from his collection. During development was enhanced by sculpture, which line. In 1907, Matisse began to explore the individualised or developed to a simple ‘visual this period, Matisse focused on the notion colours. He pursued this research through he took up in 1899. Throughout his life, sculpture decorative notion which was to be instrumental sign’. In late 1916, Matisse reintroduced the of inserting the volume of the body into a easel painting, which he took up again in 1935, notably with his model Lydia Delectorskaya. served to support his pictorial research. to his artistic career and was inspired by his model into his painting, seeing the collaboration decor designed as pure image. The end of