Henri Matisse

HENRI HENRI Karl Buchberg is Senior Conservator, Henri Matisse, one of the twentieth century’s most The Museum of Modern Art, New York significant and influential artists, displayed a remarkable inventiveness in the final decade of his Nicholas Cullinan is Curator, Modern and career. Beginning in the late 1940s, he worked Contemporary Art, The Metropolitan Museum intensively with scissors and painted paper, cutting of Art vividly colored sheets into myriad shapes, from

MATISSE MATISSE the botanical to the abstract, and arranging them Samantha Friedman is Assistant Curator, in lively compositions. Matisse famously described Department of Drawings and Prints, The Museum his process as “drawing with scissors,” and the of Modern Art, New York works that resulted, both modestly scaled and wall size, came to be known as cut-outs. Flavia Frigeri is Assistant Curator, Tate Modern This book, published in conjunction with the most comprehensive exhibition ever devoted to this Markus Gross is Chief Conservator, Fondation innovative body of work, presents a reconsidera- Beyeler tion of the cut-outs and is extensively illustrated to capture their vibrant, luminous presence. In Jodi Hauptman is Senior Curator, Department of addition to charting key moments in their emer- Drawings and Prints, The Museum of Modern Art, Cut-Outs The Cut-Outs The gence and subsequent development in the artist’s New York practice, Henri Matisse: The Cut-Outs presents new research by curators and conservators on Stephan Lohrengel is Head of Paper Conservation, topics including the artist’s materials and methods, Stiftung Jüdisches Museum, Berlin his environmental ambitions for the cut-outs, as well as the tensions they suggest between fine Nicholas Serota is Director, Tate art and decoration, between drawing and color. A collection of archival photographs, some pub- lished here for the first time, offers a close look at the life of the cut-outs in Matisse’s studios. They show how he surrounded himself with them, and they reveal the way paper forms exhibited texture and materiality, curling off the walls and migrating within and between compositions. The cut-outs were a continuation of the artist’s longstanding engagement with color and contour and were a radical rethinking of the physicality and tempo- rality of the work of art—marking the brilliant culmination of Matisse’s career.

Front cover: Blue Nude II spring 1952 BUCHBERG Gouache on paper, cut and pasted, on white paper, mounted on canvas, CULLINAN 116.2 x 88.9 (45¾ x 35) HAUPTMAN Centre Pompidou, Paris. Musée national d’art SEROTA moderne/Centre de création industrielle. Purchase, 1984 300 pp.; 314 images (250 color and 64 black-and-white) Back cover: Matisse’s studio, Villa le Rêve, Vence, France, Published by c. 1948 The Museum of Modern Art 11 West 53 Street New York, NY 10019-5497 www.moma.org HENRI MATISSE The Cut-Outs HENRI MATISSE The Cut-Outs

Edited by Karl Buchberg, Nicholas Cullinan, Jodi Hauptman, and Nicholas Serota

With essays by Karl Buchberg, Nicholas Cullinan, Samantha Friedman, Flavia Frigeri, Markus Gross, Jodi Hauptman, Stephan Lohrengel, and Nicholas Serota

The Museum of Modern Art, New York Published in conjunction with the exhibition © Tate 2014 Henri Matisse: The Cut-Outs, at The Museum Foreword 6 of Modern Art, New York All works by Henri Matisse © Succession H. Matisse/DACS 2014 The exhibition is organized by The Museum of Modern Art, New York, in collaboration Copyright credits for certain illustrations with Tate Modern, London. appear on page 291.

Exhibition dates: “Inventing a New Operation” and “Bodies Introduction and Waves,” by Jodi Hauptman Tate Modern, London © The Museum of Modern Art 2014 April 17–September 7, 2014 The STUDIO as INVENTING a ‘An AGREEABLE “Avant la Lettre” and “Game and SITE and SUBJECT 11 NEW OPERATION 17 DISTRACTION’ 25 The Museum of Modern Art, New York Endgame,” by Samantha Friedman October 25, 2014–February 9, 2015 © The Museum of Modern Art 2014 Karl Buchberg, Nicholas Cullinan, Jodi Hauptman Nicholas Cullinan Jodi Hauptman, and “Materials and Techniques,” by Nicholas Serota Karl Buchberg, Markus Gross, and Stephan Lohrengel © The Museum Bank of America is the Global Sponsor of of Modern Art 2014 Henri Matisse: The Cut-Outs. Dimensions of artworks are given in In the Studio 31 Major support for the MoMA presentation centimeters, followed by inches, height is provided by The Horace W. Goldsmith before width. A Photo Essay Foundation. All rights reserved. Additional funding is provided by Dian Woodner and by the MoMA Annual Distributed in the United States and Exhibition Fund. Canada by ARTBOOK | D.A.P. 115 Sixth Avenue, 2nd floor, New York, Park Hyatt® is the hotel sponsor of Henri New York 10013 Chronicle Matisse: The Cut-Outs. www.artbook.com

Library of Congress Control Number: AVANT la LETTRE 85 GAME and ENDGAME 125 CHAPEL FACTORY 153 Produced by Tate Publishing, London 2014934445 Samantha Friedman Samantha Friedman Flavia Frigeri ISBN: 978-0-87070-915-9 (hardcover) Edited by Colin Grant 978-0-87070-948-7 (paperback) Cover designed by Tony Lee BODIES and WAVES 193 CHROMATIC COMPOSITION 231 Interior designed by Fraser Muggeridge Printed in Italy Jodi Hauptman Nicholas Cullinan studio Color separations by DL Imaging Ltd, Front cover: Blue Nude II, spring 1952 (see London no. 110); back cover: Matisse's Studio, Villa Printed and bound by Graphicom SPA, Italy le Rêve, Vence, France, c. 1948; frontispiece: Acrobats, spring–summer 1952 (see no. 113); This book is typeset in Henry. page 8: Green Alga on Black Background The paper is 135gsm Gardapat Kiara. (The Swan), 1953. Gouache on paper, cut 7 9 and pasted, 81 x 65 (31 ⁄8 x 25 ⁄16). Private 253 Published in the United States and collection; endpapers (hardcover only): Materials and Techniques Canada by The Museum of Modern Art color chart of gouache paints produced by Karl Buchberg, Markus Gross, 11 West 53 Street, New York, New York Linel, France, illustrating the wide range of and Stephan Lohrengel 10019 colors available to Matisse for his cut-outs www.moma.org

Published outside the United States and Canada by Tate Publishing, a division of Tate Enterprises Ltd, Millbank, London Notes 266 Selected Bibliography 279 List of Exhibited Works 284 SW1P 4RG www.tate.org.uk/publishing Index 292 Acknowledgments 295

Trustees of The Museum of Modern Art 298 tendency to change color over time. Karl proposed with keen eyes—conservators, conservation scien- Foreword replacing the mount with new, tan burlap close to the tists, curators, and art historians—and take advan- original color. The second goal was to return the work tage of new technologies, unprecedented and truly to its original height, and the third was to reinstall it to magical discoveries are possible. reflect the architecture of its original installation. Although The Swimming Pool is at the conceptual The genesis of Henri Matisse: The Cut-Outs was the gouachés were pinned. There were many pin-pricks With these goals in mind, Karl began the lengthy heart of MoMA’s presentation of Henri Matisse: The ambitious conservation of The Swimming Pool, on the white paper which proved how carefully he and exacting work of conservation. About fifty-three Cut-Outs, the exhibition goes well beyond it, encom- Matisse’s epic work in cut paper and an icon in the disposed his decorations—often changing his mind.” feet of burlap had to be removed, often strand by passing works with a fuller palette, of differing degrees collection of The Museum of Modern Art. The artist Margaret Barr took note of the paper garden and a strand. New burlap was specially fabricated and dyed of abstraction and decoration, and in a range of sizes. created it in 1952 for the dining room of his home “bluish figure of a woman . . . with faint echoes of to match the color and weave of the original, and It is part of the Museum’s long and deep commitment and studio in the Hôtel Régina in Nice. By that time Botticelli’s Primavera” and both of them noted Karl decided to pin, rather than glue, the cut paper to to Matisse’s oeuvre, which comprises an outstanding he had been working intensively with cut paper as “around Matisse’s bedroom walls . . . a découpage it in order to evoke the sculptural qualities the forms collection that reflects his activities across mediums, his primary medium and with scissors as his chief design for the walls of a swimming pool.” Barr elab- would have had on Matisse’s wall; this would have the exhibitions that have considered both his entire implement for some years. The result was a radically orated on the “abstract motifs and a couple of swim- added benefit of allowing the sensitive papers to be career and more focused aspects, and new scholar- new form that came to be known as a “cut-out.” ming figures—half abstract.” But neither of them removed from the acidic burlap when the work was ship. Now, we offer a reconsideration of this impor- Depicting splashing and leaping swimmers, all in a suggested that they should think further about The not on exhibit. Finally, he worked with David Hollely, tant body of work, the most extensive pre­sentation of reduced palette of blue and white,The Swimming Swimming Pool. Perhaps they were perplexed by its Associate Director of the Department of Exhibition the cut-outs ever mounted, with related drawings, Pool fulfilled Matisse’s grand ambition to work at the hybridity, by its straddling of decoration and fine art, Design and Production, to create a new room, con- illustrated books, stained glass, and textiles. We are scale of a mural, pushing beyond the limits of easel sculpture and work on paper, the architectural and structed with the proportions, details, and architecture deeply indebted to lenders, both private collectors painting; to viewers it offers a virtual catalogue of the painterly. In addition, Barr had been in the midst of Matisse’s dining room, in which The Swimming Pool and institutions from around the globe, who have so the cut-outs’ formal and conceptual devices—the of writing his book when Matisse’s practice was could be displayed. generously entrusted their works to us on this simplification of shapes into signs, the exploitation of becoming more and more focused on the cut-outs, This ambitious conservation effort created a great momentous occasion. We are also profoundly grateful relationships between positive and negative, the and he had not had the opportunity to study them in deal of excitement at MoMA, and it sparked the to the members of the Matisse family and the Matisse transformation and slippage of subjects, the har- depth. In the small spiral notebook he carried with idea of organizing an exhibition; ultimately it Archives who have supported this project from its nessing of the decorative. A glorious achievement him on his visit, he devoted a number of pages to became clear that a broader reassessment of start, assisting our research and answering questions and a favorite of visitors since it was acquired by the Matisse’s cut-paper works for the Chapel of the Matisse’s cut-outs was due, with The Swimming Pool large and small, sharing ideas and information, and Museum in 1975, The Swimming Pool, newly con- Rosary in Vence, describing in particular the paper forming the core of the investigation—a lens through helping us to locate many of the works gathered here. served, is being shown for the first time in more than maquettes for the silk vestments. He expressed his which all of the cut-outs could be looked at. This This exhibition is a collaboration with Tate Modern, twenty years in this exhibition. preference for the designs for the yellow and red pushed the curators to think through issues of mate- and we extend our thanks to our partners in London The Museum’s first contact with The Swimming ones and asked after their price; they were acquired rials and methods in particular. What are these for their commitment to this project and for their Pool occurred in the year of its completion, when by MoMA soon after. “The chasuble designs,” Barr things we call “cut-outs”? How exactly did Matisse friendship. Alfred H. Barr, Jr., MoMA’s founding director, visited later explained, “spread out over the walls like make them? The Swimming Pool is an environment, Above all I am profoundly grateful to Karl the artist in Nice. He arrived on the heels of the pub- gigantic butterflies. . . . They seemed to be among and with that in mind the curators also considered Buchberg and his colleague Jodi Hauptman, Senior lication of his book Matisse: His Art and His Public, the purest and most radiant of all Matisse’s works.” Matisse’s engagement with the walls of his work Curator in the Department of Drawings and Prints, as which was being widely praised for its landmark Twenty years later the cut-outs’ status as an essential space: how he surrounded himself in his studio with well as to Samantha Friedman, Assistant Curator, for scholarship and is still hailed as one of the great part of Matisse’s work, an aspect of his career that these works; how their painted surfaces evinced tex- the extensive research they undertook on Matisse’s monographs of all time. Margaret Scolari Barr, who MoMA should well represent, was taken up by ture and materiality, curling off surfaces and shifting cut-outs and for their organization of this catalogue had accompanied her husband on the visit, later another generation of curators. William Rubin, Chief position over time; and how they changed when they and the exhibition that accompanies it. Their collabora- described the slightly uncomfortable scene, includ- Curator in the Department of Painting and Sculpture left the studio and, via framing and glazing, were tion is a model of curatorial and scientific engagement. ing their long wait to see the artist, the formal bear- from 1967 to 1985, embarked on a campaign to made permanent. Finally, an exhibition of this scope and ambition is ing of the maître—as his assistants called him—and acquire a significant cut-out for MoMA, selecting The implications of The Swimming Pool’s conser- only possible with significant financial support. We the awkward silences. We do not know much about first the great Memory of Oceania, in 1968, and The vation and related curatorial efforts go to the very are extremely grateful for the generous donors who what was said at the meeting—only that Matisse Swimming Pool, in 1975. heart of the Museum’s objectives and aspirations, have made this exhibition possible, in particular “made a little speech in French about the book”— In 2008 Karl Buchberg, the Museum’s Senior including its commitment to conservation as a sig- Bank of America, our Global Sponsor. MoMA’s pre­ but the couple’s descriptions of what they saw, now Conservator, proposed the major conservation of The nificant element in our understanding of modernism sentation of the exhibition received major support preserved in the MoMA Archives, shed light on the Swimming Pool, with three primary goals. The first and the art of today. How a work of art is made and from The Horace W. Goldsmith Foundation, with physical presence of the cut-outs in Matisse’ space was to restore the work’s color balance: Matisse had what that making means are questions that a additional funding from Dian Woodner and from the and the important role they played in his activities. composed The Swimming Pool directly on the fabric- museum—especially one with the great good for- MoMA Annual Exhibition Fund. Upon arrival the Barrs awaited the artist in a room covered walls of his dining room, and, to mimic this, tune of having talented conservators on staff—is “covered from floor to ceiling with white paper on the work was mounted on burlap when it left Matisse’s uniquely equipped to answer. At MoMA we believe Glenn D. Lowry which flowers and leaves cut out of his papiers studio, despite the material’s known acidity and that if we put a work of art in our lab, gather a team Director, The Museum of Modern Art, New York

6 7 Bank of America is pleased to be the global sponsor of Henri Matisse: The Cut-Outs. We look forward to partnering with The Museum of Modern Art to bring to New York this exhibition of Henri Matisse’s innovative final works.

As a company serving clients in more than one hundred countries around the world, Bank of America believes that the arts have a unique capa- bility to educate and enrich societies, connect individuals, and foster thriving economies. We support a wide range of organizations, from local, community- based arts-education programs to leading, world- class arts institutions.

We hope you enjoy Henri Matisse: The Cut-Outs and are able to share it with your family and friends.

Brian T. Moynihan Chief Executive Officer Bank of America

8 9 The STUDIO as SITE and SUBJECT

Karl Buchberg, Nicholas Cullinan, Jodi Hauptman and Nicholas Serota

In a 1952 interview with the writer André Verdet simplifying shapes into pure signs – resulted in an Henri Matisse describes a cluster of colourful entirely new form called papier découpé, or cut-out. cut-paper forms pinned to his studio walls as a Matisse had always treated his garden as ‘little garden’. ‘You see,’ he explains, ‘as I am obliged an extension of his studio, observing differences to remain often in bed because of the state of my in chromatic ‘precision’, ‘intensity’ and ‘luminosity’, health, I have made a little garden all around me studying the way ‘seeds, spindly and pale, suck where I can walk … There are leaves, fruits, a bird.’ strength and color from the sun day by day’ or, As Matisse speaks, he points to ‘a large mural for comparison, setting flowers ‘right alongside’ composition of cut paper that encompassed half the his paintings and worrying at ‘how poor and room’.1 Leaves in hues of green, red, blue, yellow and dull all my colors seem!’2 In this period, at the orange – heavy with finger-like tendrils or extended end of his life, the studio took on the very features with limbs radiating outwards – and ultramarine of a garden: in its organisation, at once organic and pomegranates of varying sizes cover two adjoining controlled; in its unceasing flux and metamorphosis; walls. Arrayed across the walls and into the corner, in its mix and melding of colour and texture; and the forms are pinned, some with multiple pins, but in its environmental aspect, a three-dimensional not too firmly or flatly, allowing each leaf or fruit space that could be physically experienced, a place to follow the force of its own materiality, weight where one ‘can walk’. Cut-paper flora sprouted and and position: drooping, bending, relaxing, fluttering, spread across the walls of his living and work space; reacting to a breath of air, making shadows. The the artist literally lived within the works.3 Verdet meeting of the two walls at a ninety-degree angle evocatively describes the scene: ‘A limpid scattering creates a small plot – a space for planting – around of color bathes the whole room, glowing like a which the artist and the interviewer can walk. rainbow, flaring like lightning, becoming soft and Though Matisse is referring to a specific group supple, then iridescent again like a rainbow … blue, of cut-paper forms still then in progress – what orange, violet, almond green, leaf green, orderly, ultimately became the work known as The Parakeet organised, each finding its own shape and place and the Mermaid (no. 118) – his description of this in an ensemble of forms.’4 These features – organic Fig 1. Walter Carone, Matisse working at the Hôtel Régina, Nice, c. 1952 composition and by extension the studio in which growth, proliferation, perpetual flux and spatial it was made as a garden is particularly instructive expansion – are at the heart of Matisse’s cut-out in elucidating the extraordinary work of his last practice and reflect both a renewed commitment decade, when he turned to painted paper as his to investigating problems of colour and contour and primary medium and scissors as his chief implement. an inventiveness directed at the very status of the His efforts – giving coloured sheets the radiance of work of art, whether as a unique object, ornament stained glass, infusing contour with sculptural form, or environment.

10 11 By about 1947 Matisse began to work intensively projects like Rouge et Noir (nos. 6–7) and most with cut paper, creating over 200 works in less than notably in composing the Barnes Dance (no. 3), but a decade. Studio assistants painted large sheets with it was in Jazz that a process for expediency became gouache colours of Matisse’s choosing. Once they what Matisse called ‘a cut-out operation’.8 were dry, Matisse would select a sheet from a range This procedure for ‘creating new combinations of colours and finishes spread on the floor in front of color’ was deployed over the next decade – of him. He cut forms of varying shapes and sizes. which turned out to be his last – on a host of These were then arranged into compositions and projects, following an arc from small scale to large fastened into place with pins.5 Initially, he would murals and including free-standing works as well compose on a board small enough to fit on his as maquettes for a host of decorative projects: cover lap, but as his ambitions and the size of the shapes designs for books and periodicals, textiles, stained and the compositions expanded, he worked directly glass, ceramics.9 For the maquettes, Matisse not on his studio walls with the help of assistants; only used paper cut-out compositions to simulate balanced on ladders, they managed the positioning the material they would eventually be translated and pinning at his direction. What we see of these into – whether this meant paper itself, cloth, stained works today is of course very different from how glass or ceramic – but he quickly realised in the they were first manifested in the studio. For the process that these paper maquettes had their sake of permanence and protection, once it was own distinctive character and intrinsic worth as decided that a work was finished or when space autonomous works of art. At the centre of these was required in the studio, the composition was efforts was the Dominican Chapel of the Rosary transferred from the wall through an elaborate in Vence (Chapelle du Rosaire de Vence), on which tracing process, the pins were ultimately removed Matisse worked from 1948 to 1951, a project that and the shapes were eventually glued into place. allowed him to combine his interests in colour and This discrepancy between how they appeared light at the scale of an architectural environment. He in the studio and how they look today raises used cut paper to design the chapel’s stained-glass an intriguing set of questions about their windows, extracting from paper the luminosity of material nature. sunlight, and made rough black and white drawings, Matisse’s cut-outs were hybrid from the start: eventually fired onto tile, to balance out the glass’s not exactly painting, but with painting’s scale and bright hues. His thinking extended to how the chapel Fig 2. Lydia Delectorskaya, Matisse at the Hôtel Régina, Nice, c. 1953 chromatic intensity; not exactly sculpture, but with would be experienced: he used cut-outs to create three-dimensional presence; and not quite drawing, the priest’s vestments, which when worn would though the scissors make a contour as precise as animate his designs and colourfully enliven the a pen. Without the vocabulary at hand to designate space. The Vence chapel allowed Matisse to think altered his environment, setting it up like a inventions.14 This goal is based on our conviction and define this new process, Matisse turned to the with paper on an all-enveloping scale and to craft still life to be painted. ‘It is as if Matisse, having that the cut-outs have two lives. The first was in the practices he knew, famously describing his approach a comprehensive decorative scheme.10 theorized about the decorative, now decided studio, where, pinned to the walls, contingent and as ‘drawing with scissors’ – which allowed him, he From almost the very beginning, the cut-outs to take an interest in interior decoration,’ Isabel mutable, their painted surfaces exhibited intense explains, to link ‘line with color, contour with surface’ evolved directly on the walls of the studio. In this Monod-Fontaine suggests. ‘Fabrics could be colour, texture and materiality, curled off the walls – or ‘cutting directly into vivid color’, which ‘reminds’ respect, we might see the cut-outs in the context arranged and rearranged at will using a series of and shifted in position over time; where forms and him ‘of the direct carving of sculptors’.6 In these of Matisse’s career-long engagement with depicting curtain rods and uprights, a platform covered with groups of forms related to each other; where the terms, the cut-outs did seem to solve the conundrum his own quarters, of regarding his studio as a additional fabrics and rugs, a mattress or couch, walls facilitated pictorial expansion beyond the Matisse had faced throughout his career: the tension subject. Consider, for example, his monumental cushions, folding screens, lights.’12 Where painting confines of an easel picture’s frame; where they between drawing and colour. By cutting directly into canvas The Red Studio or the related The Pink the studio once meant painting a picture of the challenged the rules of architecture, sometimes the coloured paper, ‘the contour of a shape and its Studio, both 1911. Without artist or models to studio, in the case of the cut-outs it meant applying ignoring structural guideposts like moulding, internal area were formed simultaneously’, offering populate them, these canvases show Matisse coloured paper to the walls of the studio. The studio panelling, doors, mantels, heaters and windows, a solution to what had always seemed a challenging concentrating on the accoutrements of the studio, went from being the subject to being the support.13 and paid little attention to distinctions between wall impasse.7 Such possibilities became clear to Matisse artist’s tools and still-life elements, along with an In trying to understand Matisse’s approach, to and floor; and where they were lived in and among, during work on his first sustained cut-out project, elaborate gallery of his own painting and sculpture.11 get at the multivalent meanings of the cut-outs, resulting in something closer to installation than Jazz (nos. 18–39), in which the artist deployed Similarly, in the Nice interiors of 1917–30, with their our aim and challenge is to return to that lively painting. Their second life began when they left cut paper to make one of the century’s greatest depictions of sumptuous fabrics, rugs and wall and ever-changing garden that was his studio, the studio: when they were made permanent and illustrated books, begun in 1943 but not published coverings, the working and living space is also where the walls often served as a blank canvas for given a final form, via gluing and mounting, framing until 1947. He had used cut paper before in ballet the primary subject. In his Nice studio Matisse Matisse’s increasingly prolific and all-encompassing and glazing.

12 13 A collaboration between curators and consideration, to bits of paper left on the floor in completion (what has sometimes been termed in The Knife Thrower, The Sword Swallower and conservators, this investigation focuses squarely piles, a colourful negative of what we see on the ‘de-skilling’), and make the activities of the studio The Cowboy.25 The cut-outs also developed during on the physicality of Matisse’s work in his last wall. In those without people, evidence of a life lived, their subject (think, for example, of the studio a time of great physical trial for Matisse when he decade and the process of making: what exactly the blending of studio and bedroom, is everywhere: practice of Bruce Nauman or William Kentridge). underwent surgery, a difficult rehabilitation and, is this thing we call a ‘cut-out’? What is the nature Matisse’s bed carefully made with his brown plaid Even without those labels (and it may be better to finally, a sense of living on borrowed time. As he of the particular materials and how are they used?15 blanket, coffee pots, shells, travel souvenirs and avoid anachronism and leave them aside), the life recovered, he wrote to his son Pierre: ‘It’s like being On that score, we believe that the lessons of the other favourite items (many of which can be found of the cut-outs in the studio and their material logic given a second life, which unfortunately can’t be cut-outs rest not only in their finished product or in his paintings), bookcases and glass cabinets, mount a radical and wholesale rethinking of the a long one.’26 state but also, and even more, in their making. How plants in vases. In others Matisse is seen at work: temporality and physicality of the work of art. The impact of these conditions – the war and can we return to the studio, to its impermanence settled into a wheelchair surrounded by colourful Though this body of work was significant for his brush with death, along with his ongoing physical and change, its experimentation, its liveliness? Can bits of paper; upright in a custom-built chair, at young artists of Matisse’s day struggling to find deterioration (Matisse continued to suffer bouts we imagine time running in reverse – un-mounting, his side a specially designed cabinet with a roll-top themselves – the excellent exhibition catalogue of pain, weakness and insomnia during his final un-gluing, un-transferring, re-pinning, un-pinning, desk, drawers labelled ‘pins’ and slots for books Ils ont regardé Matisse maps that impact20 – and thirteen years following surgery) – may be seen un-cutting, un-painting – straight back to the and papers; or seated in his bed, drawing directly continues to resonate with contemporary practice, in the cut-outs’ excessive proliferation on the walls original white sheet?16 on the walls and ceiling with a long stick. the cut-outs must also be seen in the context of of the studio and his constant reworking of them. Our trip back in time is made possible by What is common to and striking in all of these a particular time: in the events of the mid-twentieth Matisse’s wartime focus on the studio’s activities the many photographs taken of Matisse’s studio, photographs is the way the pinned cut papers are century and in Matisse’s own life. The cut-outs might be interpreted as unyielding creativity including those that show the artist at work within fastened in groups so that they relate to one another emerged as a fully fledged practice on the precipice under difficult and deficient conditions – or taking it. Some of these photographs were made by and are mixed in with the architecture of the space of, during, and in the wake of war, raising questions advantage to the fullest extent of time that he Lydia Delectorskaya – Matisse’s assistant, model, and a myriad other works: ink drawings on paper; about the ways in which Matisse managed to should not have had. Similarly, though remaking muse – to document the stages or progress of an charcoal sketched on the wall; posters, paintings, negotiate invention with tragedy: how, under such (delays in completion) were always hallmarks individual work (called états17), allowing Matisse textiles. In the studio, the cut-outs were never seen extraordinarily difficult circumstances, did Matisse of Matisse’s work, can the incessant rearranging to study where he had been in order to determine alone, demonstrating that Matisse’s understanding devise new solutions to long-studied pictorial in those last years be seen as a means of warding where he would go; numerous others were taken by of them is based on how they relate to each other problems?21 How did the work inside the studio off the most absolute of terminations, that is death? an array of visitors with cameras, some professional, and works in other media. Importantly, this was continue when the world seemed to be collapsing The profusion and lack of finish of the cut-outs, then, some not, but all of whom were clearly fascinated always true of how he approached colour. ‘It is not around it? In the midst of the war Matisse offered were not solely the product of wartime, but might by the work space as an intensely vibrant living enough to place colors, however beautiful, one his own take on the urgency of work: ‘Each one be described as the central features of what some organism. This trove (see pp. 30–83) includes beside another,’ he argued, ‘colors must also react of us must find his own way to limit the moral shock call ‘late style’, a set of practices based on the artist’s informal snapshots, posed or carefully staged with one another. Otherwise you have cacophony.’19 of this catastrophe. For myself … in order to prevent understanding that one’s working life is rapidly portraits, and those in which it appears that the And though each photograph tells its own story an avalanche overwhelming me, I’m trying to nearing its end.27 photographer waited for a telling moment.18 By about the activities of the studio, it is the chronicle distract myself from it as far as possible by clinging As rich a metaphor as the garden is, given putting these diverse photographs into chronological they tell together that is perhaps most enlightening. to the idea of the future work I could still do, if I don’t the revolutionary activities of the studio, perhaps order (as best as we can), mapping their locations Looking from image to image, we see that individual let myself be destroyed.’22 Though Matisse himself it is not enough. The studio, we will see in this within and across Matisse’s three primary studios of works migrate from place to place, that elements did not suffer a loss of basic creature comforts, volume, served many other functions: bedroom, this period, wall by wall – Boulevard Montparnasse are removed or adjusted and reappear back where he was keenly aware of his compatriots who did, chapel, factory, tailor shop, concert hall, in Paris, Villa le Rêve in Vence, and the Hôtel Régina they started or in absolutely new works, and that organising the delivery of food and supplies to photography studio, aviary, infirmary, stage set, in Nice – and carefully reading their contents, the compositions are rotated or shift entirely – all friends and colleagues. Throughout the occupation swimming pool, laboratory, subject and, most activities of the work space come into focus, even of which speaks to the studio’s flux. he endured treacherous travel, as he made his way of all, ground.28 As Matisse explained: ‘There was after more than seventy years. Paper elements This return to the studio leads us to understand from Paris south, and deep worry over the arrest a time when I never left my paintings hanging cover any and all surfaces, from complicated the cut-outs in a particular way, not just as finished, of his daughter Marguerite and his estranged wife on the wall [of my studio] because they reminded large-scale compositions in mid-process to wall- framed objects that address the conceptual and for their work with the resistance.23 In Jazz, the key me of moments of overexcitement and I did not size assemblages organised into patchworks and formal problems of colour and line, but as records cut-out project of the war, a sense of the conflict like to see them again when I was calm.’29 In the mosaics; from surfaces covered with individual works of a process, laboured over and revised in a and its resulting deprivation seeped in: Louis Aragon three studios of his final decade the walls did not of varied size, texture and subject (recognisable, way that long-standing myths about Matisse’s described the yellow bursts in Icarus as ‘exploding undermine him, but were the fertile ground for simplified or abstracted), and seemingly randomly ease of cutting and creating do not allow. From shells’ and Tériade ‘was convinced that the earliest an exceptional body of work. installed, to a single form that dangles alone for no today’s perspective, with the benefit of decades Jazz plates – Toboggan, Icarus, Burial of Pierrot apparent compositional purpose; from work tables of art-making that extends the work into the – reflected the tragic ambiance of the time in which piled high with rolls of paper to assistants posing space of the viewer, the cut-outs’ first life may they were made’.24 Later commentators found other in their overalls, hammer and pins at the ready, like be seen as proto-installation or proto-environment references, from the reading by Riva Castleman markers offering a sense of scale; from squares of – installation, environment or new media similarly of The Wolf as a stand-in for the Gestapo to the coloured paper, arranged in a palette and hung for challenge the necessity and propriety of finish and ‘acts of aggression’ noted by Rebecca Rabinow

14 15 49. The Lyre 1946 Gouache on paper, cut and pasted 50. Ascher Square A 1947 51. Ascher Square B 1947 132 31.6 × 23.3 (12½ × 9⅛) Printed blue silk, 91.44 × 91.44 (36 × 36) Printed grey silk, 91.44 × 91.44 (36 × 36) 133 52. Oceania, the Sky summer 1946 53. Oceania, the Sea summer 1946 (realised as silkscreen 1946) (realised as silkscreen 1946) Gouache on paper, cut and pasted, on paper, Gouache on paper, cut and pasted, on paper, 134 mounted on canvas, 178.3 × 369.7 (70⅛ × 145½) mounted on canvas, 178.5 × 392.8 (70¼ × 154⅝) 135 54. Composition with Red Cross 1947 55. Amphitrite 1947 Gouache on paper, cut and pasted Gouache on paper, cut and pasted 136 74.1 × 52.4 (29⅛ × 20⅝) 85.5 × 70 (33⅝ × 27½) 137 56. Panel with Mask 1947 57. The Eskimo 1947 Gouache on paper, cut and pasted Gouache on paper, cut and pasted 138 110 × 53 (43¾ × 20⅞) 40.5 × 86 (16 × 33⅞) 139 58. Composition, Yellow, Blue and Black 1947 59. White Alga on Red and Green Background 1947 60. White Alga on Orange and Red Background 1947 Gouache on paper, cut and pasted Gouache on paper, cut and pasted Gouache on paper, cut and pasted 140 47 × 34 (18½ × 13⅜) 52.5 × 40.5 (20¾ × 16) 52.5 × 40.5 (20⅝ × 16) 141 61. Flowering Tree (Mural Scroll) 1948 Maquette for silkscreen (realised 1949) 62. Two Masks (The Tomato) 1947 Gouache on paper, cut and pasted Gouache on paper, cut and pasted 142 51.2 × 63.7 (20⅛ × 25⅛) 47.7 × 51.8 (18¾ × 20⅜) 143 63. Negro Boxer 1947 64. Composition, Black and Red 1947 Gouache on paper, cut and pasted Gouache on paper, cut and pasted 144 32 × 25.5 (12⅝ × 10) 40.6 × 52.7 (16 × 20¾) 145 65. Composition (The Velvets) 1947 Gouache on paper, cut and pasted 146 51.5 × 217.5 (20¼ × 85⅝) 147 66. Composition Green Background 1947 67. Screen Panel, Beige Background 1947 Gouache on paper, cut and pasted, and pencil Gouache on paper, cut and pasted 148 104.1 × 40.3 (41 × 15⅞) 162 × 53.5 (63¾ × 21) 149 68. Black and Violet Arabesques 69. Leaf Motif c. 1948 on Orange Background 1947 Maquette for scarf (realised c.1948) 70. Alga on Green Background 1947 71. Palmette c. 1947 Gouache on paper, cut and pasted Gouache on paper, cut and pasted, and ink Gouache on paper, cut and pasted Gouache on paper, cut and pasted 150 40 × 26.5 (15¾ × 10⅜) 34 × 19.5 (13⅜ × 7⅝) 24.8 × 14.6 (9¾ × 5¾) 71.1 × 53.3 (28 × 21) 151 artist proposes the maquette (fig. 50) as 16. William Kentridge, an artist who Matisse: Paires et séries, exh. cat., Centre into Color, A Revealing Donation, exh. cat., Spurling et al., Matisse, his Art and his Notes ‘an orginal work’ and prices it separately. often makes the activities of the studio his Pompidou, Paris 2012, pp.195–200. Musée Matisse, Le Cateau-Cambrésis Textiles: The Fabric of Dreams, exh. cat., See letter, 28 Oct. 1954. For Matisse subject, calls this unspooling of the work’s 22. Letter to Marguerite Duthuit, June 2013; Gilles and Xavier-Gilles Néret (eds.), Royal Academy of Arts, London 2004, and decoration, see John Hallmark current state to its origin ‘the utopian 1940, quoted in Spurling 2005, p.393. Henri Matisse: Cut-Outs: Drawing with pp. 14–15. For an interesting treatment of The Studio as Site and Subject Neff’s articles ‘Matisse and Decoration: perfectability of the world in reverse’. See 23. For an excellent discussion of this Scissors, trans. Pamela Hargreaves and the analogies between Picasso’s pinning The Schukin Panels’, Art in America 63, his lecture ‘Drawing Lesson Four: Practical time, see Spurling 2005, ch. 11 (‘1939–1945: Jonathan Paul Murphy, Cologne 2009. and cutting in his papiers collés and 1. André Verdet, Prestiges de Matisse: no.4 (July–Aug. 1975), pp.38–48, and the Epistemology: Life in the Studio’, one of six Paris, Nice, Ciboure, St-Gaudens and See this volume’s bibliography for contemporary dressmaking and tailoring, Précédé de visite à Matisse, entretiens two-part ‘Matisse and Decoration’, Arts presentations given at Harvard University Vence’), pp.387–425. additional sources. see Elizabeth Cowling, ‘The Fine Art of avec Matisse, Paris 1952, p.20. ‘A large Magazine 49, no.9 (May 1975), pp.59–61, as part of the Norton Lectures. Lecture 24. For Aragon, see Spurling 2005, 3. Matisse’s closest collaborator, his Cutting: Picasso’s Papiers Collés and mural composition …’ are Verdet’s words. and no.10 (June 1975), p.85. Six was delivered on 10 April 2012. For p.419. For Tériade, see Rebecca A. Rabinow, assistant/secretary/model Madame Lydia Constructions in 1912–14’, Apollo, vol.142, An excerpt is translated in Jack Cowart 10. For a thorough overview of other reflections on the studio, see Brian ‘The Legacy of la Rue Férou: Livres d’Artiste Delectorskaya, identifies the cut-outs’ (Nov. 1995), no.405, pp.10–18. et al., Henri Matisse: Paper Cut-Outs, exh. the chapel project, see Henri Matisse, O’Doherty, Studio and Cube, New York Created for Tériade by Rouault, Bonnard, ‘sacred’ features: contour – ‘traced with 10. Spurling 2004, p. 17 and n.12. cat., National Gallery of Art, Washington, Marie-Alain Couturier and Louis-Bertrand 2007, and Daniel Buren, ‘The Function Matisse, Léger, Le Corbusier, Chagall, the aid of a scissor is the authentic work 11. Jeffrey Weiss, ‘Picasso’s Contingent DC 1977, p.233; Verdet’s interjection Rayssiguier, The Vence Chapel: The of the Studio’, October 10 (Autumn 1979), Giacometti, and Miró’, PhD diss., Institute of of the artist, it has the value of the original Cubism’, lecture at the Frick Collection, that Matisse designated with his hand Archive of a Creation, ed. Marcel Billot, pp.51–8. Fine Arts, New York University, 1995, p.109. line of a drawing’; composition – ‘the 14 Dec. 2011. Weiss’s text and our ongoing ‘une grande composition murale de trans. Michael Taylor, Turin 1999. 17. Photographing states of work in 25. Riva Castleman, ‘Introduction’, to placement and the axis of each colored dialogue have been absolutely essential for papiers découpés’ is not included in 11. For more on Matisse’s studios, progress was already well established Matisse, Jazz facsimilie, New York, 1983, form … to give the desired placement and my understanding of Matisse’s pinning and that translated excerpt. see Jack Flam, Matisse: The Man and his by the time of the cut-outs. Consider, for p. x, discussed in Rabinow 1995, pp.110–11; expression’; and colour – ‘chosen by the its implications. Weiss’s text also encourages 2. Matisse in ‘Interview with Ernst Art, 1869–1918, Ithaca and London 1986, example, Matisse’s use of photographs in for ‘acts of aggression’, see Rabinow 1995, artist at the moment of its creation’. She considering the relationship between Goldschmidt’ (1911) in Jack Flam (ed.), pp.295–322; Pierre Schneider, Matisse, the development of his Pink Nude, 1935. p.109. uses the word ‘sacré’: contour – 'tracé à cubism’s papier collé and Matisse’s cut-outs. Matisse on Art, Berkeley and Los Angeles trans. Michael Taylor and Bridget Strevens See Jeffrey Weiss’s important text on 26. Letter to Pierre Matisse, 3 Nov. l’aide de ciseaux, est l’oeuvre authentique 12. Weiss 2011. 1995, p.63. Romer, New York 1984, pp.424–57; John Matisse’s use of photographs, ‘The Matisse 1942, quoted in Spurling 2005, p.402. For de l’artiste, il a la valeur du trait original 13. Weiss 2011. 3. Hilary Spurling quotes Matisse’s Elderfield, ‘The Red Studio’, in Matisse Grid’, in Eik Kahng (ed.), The Repeating Matisse’s medical issues, see Spurling 2005, d’un dessin’; composition – ‘la place et 14. It is interesting that Lydia assistant Lydia Delectorskaya as saying in the Collection of The Museum of Image: Multiples in French Painting from ch.11, pp.387–425. Matisse’s ‘second life’– l’axe de chaque forme colorée … donner Delectorskaya expressed sorrow for he ‘lived in and for it’; see Hilary Spurling, Modern Art, New York 1978, pp.86–9; David to Matisse, exh. cat., Walters Art the flourishing of his work after his surgery l’emplacement et l’expression voulus’; the pinholes’ ‘necessary evil’. See letter to Matisse the Master: A Life of Henri Matisse, Alastair Wright, ‘Matisse dans l’atelier. La Museum, Baltimore 2007, pp.173–91. in 1941 and his relationship with André colour – ‘choisi par l’artiste au moment de The Museum of Modern Art conservators, The Conquest of Colour, 1909–1954, New Dialectique de l’espace’, in Cécile Debray Matisse exhibited photographs of states Rouveyre – was the subject of an exhibition la création’ (Archives Matisse, Paris). Letter 23 July 1976, Archives Matisse, Paris: York 2005, p.428. In a visit to Nice in 1952 (ed.) Matisse: Paires et séries, exh. cat., of his paintings alongside the finished work at the Louisiana Museum in 2005 organised to MoMA conservators, 23 July 1976. ‘Ces petits trous étaient un mal, mais, Alfred H. Barr, Jr writes in his notebook Centre Pompidou, Paris 2012, pp.63–8. at Galerie Maeght in Paris in 1945, recently by Hanne Finsen. See Hanne Finsen (ed.), 4. This film was shot by Adrien Maeght. hélas, inévitable.’ of ‘walls with elaborate découpages of 12. Isabel Monod-Fontaine, ‘Figure restaged in the exhibition Matisse: In Matisse: A Second Life, exh. cat., Musée du 5. Letter to André Rouveyre, 22 Feb. 15. Henri Matisse, ‘Notes of a Painter’ multi-coloured leaves in various brilliant décorative or, A Studio Painting’, in Search of True Painting at The Metropolitan Luxembourg, Paris, 2005. 1948, transcribed in Finsen 2001, p. 486, (1908), reprinted and translated in Jack colours and one or two abstract figures’. Pia Müller-Tamm (ed.), Henri Matisse: Museum of Art, New York. See Dorthe 27. For an investigation into ‘late style’, letter 873: ‘l’opération de découpage’. Flam (ed.), Matisse on Art, Berkeley and Alfred H. Barr, Jr, Papers, 9.E.2, The Figure, Color, Space, exh. cat., K20 Aagesen, ‘Painting as Film’, in Aagesen and see Karen Painter and Thomas Crow (eds.), 6. Matisse quoted in André Verdet, ‘Les Los Angeles 1995, p. 37. Museum of Modern Art Archives, New York. Kunstsammlung Nordrhein-Westfalen, Rebecca Rabinow (eds.), Matisse: In Search Late Thoughts: Reflections on Artists and Papiers découpés’, in his Entretiens, notes 16. Letter from Henri Matisse to 4. Verdet 1952, pp. 19–21, as quoted Düsseldorf 2005, p.312. of True Painting, exh. cat., The Metropolitan Composers at Work, Los Angeles 2006. et écrits sur la peinture, Paris 1978, p. 130: Pierre Matisse, 5 April 1948, Pierre Matisse and translated in Spurling 2005, pp.463–4. 13. Matisse’s use of the walls of Museum of Art, New York 2012, pp.159–63. 28. It was George Salles who described ‘Mais ce n’est plus le pinceau qui s’insinue Gallery Archives, Morgan Library, New 5. See the technical essay in this volume his studio as a site to work out his ideas 18. Hélène Adant, Lydia Delectorskaya’s the studio as ‘a fantastic laboratory’, et glisse sur la toile, ce sont les ciseaux qui York, letter 637, box 205: ‘Un armateur qui (pp.253–65) for an extensive exploration has a parallel in the practice of Piet cousin, carried out the most extensive quoted in Spurling 2005, p.463. taillent dans le papier cartonné et dans la fait un bateau de luxe s’appellant “le génie of Matisse’s process. Mondrian. Mondrian hung coloured documentation of Matisse’s studio, 29. Matisse, ‘Notes of a Painter’ (1908), couleur. Les conditions du trajet diffèrent à français” destine à l’orient jusqu’au Japon 6. Henri Matisse, Jazz, Paris 1947, rectangles on his studio walls, notably going as far as restaging for her camera in Flam 1995, p.38; quoted in Elderfield 1978, cent pour cent. Le contour de la figure jaillit me propose de me l’acheter pour mettre pp.73–4, trans. in Flam 1995, p.172: ‘drawing in his Manhattan studio at 15 East 59th still-life compositions painted by Matisse. p.89. donc de la découverte des ciseaux qui lui dans son bateau.’ with scissors’ and ‘cutting directly into vivid Street, creating an environment in which For a selection of these photographs, donnent le mouvement de la vie circulante. 17. It is interesting to compare La color’, which ‘reminds’ him ‘of the direct his painting schemes seemed to extend see Marie-France Boyer, Matisse at Or cet outil ne module pas, il ne brosse pas Négresse with Picasso’s 1913 construction carving of sculptors.’ Verdet 1952, p.71, into his physical space. See Nancy Troy, Villa le Rêve, 1943–1948, trans. Anna Inventing a New Operation sur, mais il incise dans, soulignons-le bien, of a guitar player, whose newspaper arms trans. and reprinted in Flam 1995, p.216: ‘Piet Mondrian’s Atelier’, Arts 53, no.4 Bennett, London 2004. car les critères d’observation seront tout come off the wall into the viewer’s space ‘line with color, contour with surface.’ (Dec. 1978), pp.82–7; Nancy Troy, ‘Piet 19. Verdet 1952, p.72, trans. in Flam 1995, 1. Letter to André Rouveyre, 22 Feb. 1948, autres.’ (Emphasis as in the original.) An to play an actual guitar, while standing 7. John Elderfield, Henri Matisse: Mondrian’s Last Thoughts’, in Karen p.216. In the quotation a slight modification transcribed in Hanne Finsen (ed.), Matisse, alternative translation is available in Jack near a real table on which sits a real A Retrospective, New York 1992, p.413. Painter and Thomas Crow (eds.), Late has been made to Flam’s translation that Rouveyre: Correspondance, Paris 2001, Flam (ed.), Matisse: A Retrospective, New bottle and a real pipe. See photographs 8. Letter to André Rouveyre, 22 Feb. 1948, Thoughts: Reflections on Artists and changes ‘react on’ to ‘react with.’ p. 486–7, letter 873: ‘Les murs de ma York 1988, p. 380. in Anne Umland, Picasso Guitars, 1912–1914, transcribed in Hanne Finsen (ed.), Matisse, Composers at Work, Los Angeles 2006, 20. Éric de Chassey and Émilie Ovaere chambre sont pleins de découpages’; 7. Patrice Deparpe, ‘Une Donation exh. cat., The Museum of Modern Art, Rouveyre: Correspondance, Paris 2001, pp.15–35; and L’Atelier de Mondrian: (eds.), Ils ont regarde Matisse: Une Reception ‘je ne sais encore ce que je ferai de ces révélatrice / A Revealing Donation’, in New York 2011, pp.72–3. p.486, letter 873: ‘l’opération de découpage’. Récherches et Dessins, Paris 2007. abstraite, Etats-Unis/Europe, 1948–1968, nouveaux découpages’; and ‘c’est le résultat Deparpe 2013, p. 13. This exhibition and 18. Henri Matisse in ‘Interview with 9. The quotation comes from a 14. Spurling (2005, p.463) describes exh. cat., Musée Matisse, Le Cateau- qui a plus d’importance qu’il n’en a l’air’. catalogue present the recent donation Georges Charbonnier’ (1950) in Flam 1995, letter to André Rouveyre, 25 Dec. 1947, the way Matisse ‘filled his white walls with Cambrésis 2009. 2. The essential resources on the cut-outs from the Matisse family of forms cut by p. 191. transcribed in Finsen 2001, p.478, letter cut-paper leaves, flowers, fronds and fruit 21. This thinking about the cut-outs as a remain Jack Cowart et al., Henri Matisse: Matisse that were ultimately not used in 19. Henri Matisse in ‘Letters to Alexander 860: ‘Je suis occupé l’après-midi à faire from imaginary forests. Blue and white wartime practice and Matisse’s ‘recognition Paper Cut-Outs, exh. cat., National Gallery his compositions. The range of shapes and Romm’, 14 Feb. 1934, in Flam 1995, pp. 115, de nouvelles combinaisons de couleurs figures – acrobats, dancers, swimmers of what catastrophe is’ was provoked by of Art, Washington, DC 1977, and John their relationships offer important insights 116. Matisse elaborates on this concept: avec le système du papier découpé.’ – looped and plunged into synthetic seas’. T.J. Clark’s recent volume Picasso and Truth: Elderfield, The Cut-Outs of Henri Matisse, into Matisse’s work. We are grateful to ‘Architectural painting depends absolutely There have been debates among 15. The recent conservation of The From Cubism to Guernica, Washington, New York 1978. More recent indispensable Patrice Deparpe for sharing his deep on the place that has to receive it, and observers regarding whether the cut-paper Swimming Pool, 1952, by Karl Buchberg, DC 2013, in which he describes the way scholarship includes Anne Coron, ‘La knowledge of this collection. which it animates with a new life … It must maquette can be considered a finished Senior Conservator, The Museum of the studio is pervaded by ‘monsters’, the Gouache découpée dans l’oeuvre de Henri 8. Such proliferation and its close give the space enclosed by the architecture work. In correspondence between Matisse Modern Art, both focused our attention catastrophes of the twentieth century; for Matisse: Pratique, esthétique, réception’, relation, pattern, are key elements of the the atmosphere of a wide and beautiful and Alfred H. Barr, Jr concerning the on materials and methods – the recognition, see p.19, and for monsters, p.21, PhD diss., Université Picardie Jules Verne decorative – with which Matisse engaged glade filled with sunlight’ (Flam 1995, commission from Nelson Rockefeller for procedures of the studio – and pointed and ‘Lecture 4: Monster’, pp.147–90. For (Amiens), Faculté des Arts, 2005; Patrice in composing his cut-outs. p. 116). Yve-Alain Bois discusses Matisse’s a stained glass window at Union Church us towards the importance of Matisse’s the war’s impact, see Éric de Chassey, 'Une Deparpe (ed.), Matisse: La Couleur 9. Hilary Spurling, ‘Material World: aspiration toward expansion in ‘On Matisse: in Pocantico Hills, Tarrytown, N.Y., 1954, the environmental works. Cohabitation instablé’, in Cécile Debray (ed.) découpée, une donation révélatrice / Cutting Matisse, his Art and his Textiles’, in Hilary The Blinding: For Leo Steinberg’, trans.

266 267 The Dance (La Danse) 1931–3 Two Dancers (Deux Danseurs) Verve, vol.II, no.8 1939 The Circus (Le Cirque) 1943 The Horse, the Rider and the Icarus (Icare) 1943(?)–4 Forms (Formes) 1944 List of Study for the Barnes mural 1937–8 (not illus.) Maquette for plate II from Clown (Le Cheval, l’écuyère Maquette for plate VIII from Maquette for plate IX from (Paris version) Stage curtain design for Louisa Riley-Smith, the illustrated book Jazz (1947) et le clown) 1943 the illustrated book Jazz (1947) the illustrated book Jazz (1947) Exhibited Works Gouache and pencil on paper the ballet Rouge et Noir 20th Century Art Archives Gouache on paper, cut and Maquette for plate V from Gouache on paper, cut and Gouache on paper, cut and 27.9 × 75.9 (11 × 29⅞) Gouache on paper, cut and Tate only pasted, mounted on canvas the illustrated book Jazz (1947) pasted, mounted on canvas pasted, mounted on canvas The Metropolitan Museum pasted, notebook papers, pencil 45.2 × 67.1 (17¾ × 26⅜) Gouache on paper, cut and 43.4 × 34.1 (17⅛ × 13⅜) 44.3 × 67.1 (17½ × 26⅜) Media and dimensions have of Art, New York. The Pierre and drawing pins (thumb tacks) Still Life with Shell (Nature Centre Pompidou, Paris. pasted, mounted on canvas Centre Pompidou, Paris. Centre Pompidou, Paris. been provided by the owners and Maria-Gaetana Matisse 80.2 × 64.5 (31⅝ × 25⅜) morte au coquillage) 1940 Musée national d’art 42.5 × 65.6 (16¾ × 25⅞) Musée national d’art Musée national d’art or custodians of the works. Collection, 2002, 2002.456.43 Centre Pompidou, Paris. Gouache, coloured pencil moderne / Centre de création Centre Pompidou, Paris. moderne / Centre de création moderne / Centre de création Measurements are given in Not in C (no. 2) Musée national d’art moderne / and charcoal on cut paper, industrielle. Dation, 1985 Musée national d’art moderne / industrielle. Dation, 1985 industrielle. Dation, 1985 centimetres followed by inches, MoMA only Centre de création industrielle. and string, pinned to canvas C 18 (no. 19) Centre de création industrielle. C 24 (no. 27) C 25 (no. 28) and height precedes width. Dation, 1991 83.5 × 115 (32⅞ × 45¼) Dation, 1985 Works that appear in Jack Unknown photographer C 4 (no. 7) Private collection Monsieur Loyal 1943 C 21 (no. 24) Pierrot’s Funeral (L’Enterrement The Swimmer in the Tank (La Cowart et al., Henri Matisse: Photographs of the Barnes C 11 (no.8) Maquette for plate III from de Pierrot) 1943–4(?) Nageuse dans l’aquarium) 1944 Paper Cut-Outs, exh. cat., mural in progress 1931–3 Small Dancer on Red the illustrated book Jazz (1947) The Heart (Le Coeur) 1943 Maquette for plate X from Maquette for plate XII from National Gallery of Art, 27 gelatin silver prints Background (Petit Danseur Still Life with Shell (Nature Gouache on paper, cut and Maquette for plate VII from the illustrated book Jazz (1947) the illustrated book Jazz (1947) Washington 1977, are identified dimensions variable sur fond rouge) 1937–8 morte au coquillage) 1940 pasted, mounted on canvas the illustrated book Jazz (1947) Gouache on paper, cut and Gouache on paper, cut and by a ‘C’ number for reference. Barnes Foundation Archives, Gouache on paper, cut Oil on canvas 54.7 × 42.7 (21½ × 16¾) Gouache on paper, cut and pasted, mounted on canvas pasted, mounted on canvas The catalogue or figure Merion, PA and pasted, 59.7 × 46.4 54 × 81 (21¼ × 31⅞) Centre Pompidou, Paris. pasted, mounted on canvas 44.5 × 66 (17½ × 26) 44.2 × 66 (17⅜ × 26) number of the work is given Not in C (no. 3) (23½ × 18¼) The State Pushkin Museum Musée national d’art 44.5 × 67.3 (17½ × 26½) Centre Pompidou, Paris. Centre Pompidou, Paris. in brackets after this ‘C’ MoMA only Private collection, Houston of Fine Arts, Moscow moderne / Centre de création Centre Pompidou, Paris. Musée national d’art Musée national d’art number. French titles are C 5 (no. 4) Not in C (no. 9) industrielle. Dation, 1985 Musée national d’art moderne / Centre de création moderne / Centre de création given when applicable, and Venus in a Shell II Tate only C 19 (no. 20) moderne / Centre de création industrielle. Dation, 1985 industrielle. Dation, 1985 reflect how works are best (Vénus à la coquille II) 1932 Dancer (Le Danseur) 1937–8 industrielle. Dation, 1985 C 26 (no. 29) C 28 (no. 31) known in that language. Bronze, 32.4 × 20.3 × 23.2 Gouache and pencil on Cover maquette for the journal Circus Scene C 23 (no. 26) (12¾ × 8 × 9⅛) paper, cut and pasted Verve, vol. IV, no. 13 (1945) 1943 (Scène de cirque) 1943 The Knife Thrower (Le Lanceur Destiny (Le Destin) 1944 Hirshhorn Museum and 74.9 × 62.2 (29½ × 24⅜) Gouache on paper, cut and Drawing for the illustrated The Codomas de couteaux) 1943–4 Maquette for plate XVI from Reclining Nude II Sculpture Garden, Smithsonian Private collection pasted, mounted on canvas book Jazz (1947) (Les Codomas) 1943 Maquette for plate XV from the illustrated book Jazz (1947) (Nu couché II) 1927 Institution, Washington, DC. Gift C 6 (no. 5) 38.1 × 56.8 (15 × 22⅜) Pencil on paper Maquette for plate XI from the illustrated book Jazz (1947) Gouache on paper, cut and Bronze, 28.3 × 49.5 × 14.9 of Joseph H. Hirshhorn, 1966 Staatliche Museen zu Berlin, 27.9 × 38.1 (11 × 15) the illustrated book Jazz (1947) Gouache on paper, cut and pasted, mounted on canvas (11⅛ × 19½ × 5⅞) Not in C (no. 128) Two Dancers Nationalgalerie, Museum Pierre and Tana Matisse Gouache on paper, cut and pasted, mounted on canvas 44.6 × 67.1 (17½ × 26⅜) Tate. Purchased 1953 Tate only (Deux Danseurs) 1937–8 Berggruen Foundation, New York pasted, mounted on canvas 43.3 × 67.5 (17 × 26⅝) Centre Pompidou, Paris. Not in C (no. 125) Stage curtain design for C 12 (no. 15) Not in C (no. 22) 43.5 × 67.1 (17⅛ × 26⅜) Centre Pompidou, Paris. Musée national d’art Tate only Cover maquette for the the ballet Rouge et Noir MoMA only Centre Pompidou, Paris. Musée national d’art moderne / Centre de création journal Cahiers d’Art, nos. 3–5 Gouache on paper, cut and The Fall of Icarus Musée national d’art moderne / Centre de création industrielle. Dation, 1985 Reclining Nude III (1936) 1936 pasted, mounted on board (La Chute d’Icare) 1943 Circus Scene moderne / Centre de création industrielle. Dation, 1985 C 32 (no. 35) (Nu couché III) 1929 Gouache on paper, 63 × 64.5 (24⅞ × 25⅜) Gouache on paper, (Scène de cirque) 1943 industrielle. Dation, 1985 C 31 (no. 34) Bronze, 18.7 × 46.5 × 15.1 cut and pasted, 32.8 × 54 Private collection cut and pasted, and pins Drawing for the illustrated C 27 (no. 30) The Lagoon (Le Lagon) 1944 (7⅜ × 18⅜ × 6) (12⅞ × 21¼) C 8 (no. 6) 35 × 27 (13¾ × 10⅝) book Jazz (1947) The Dragon Maquette for plate XVII from Hirshhorn Museum and Staatliche Museen zu Berlin, Private collection Pencil on paper The Sword Swallower (Le Dragon) 1943–4 the illustrated book Jazz (1947) Sculpture Garden, Smithsonian Nationalgalerie, Museum The Dance (La Danse) 1938 C 14 (no.17) 28.3 × 38.4 (11⅛ × 15⅛) (L’Avaleur de sabres) 1943 Gouache on paper, Gouache on paper, cut and Institution, Washington, DC. Gift Berggruen Maquette for a lithographic Private collection Maquette for plate XIII from cut and pasted pasted, mounted on canvas of Joseph H. Hirshhorn, 1966 C 2 (no. 10) reproduction for the journal The Clown (Le Clown) 1943 Not in C (no. 23) the illustrated book Jazz (1947) 42.5 × 65.5 (16¾ × 25¾) 44 × 66.3 (17⅜ × 26⅛) Not in C (no. 126) MoMA only Verve, vol. I, no. 4, 1938 Maquette for plate I from the MoMA only Gouache on paper, cut and Staatliche Museen zu Berlin, Centre Pompidou, Paris. Tate only Gouache on paper, illustrated book Jazz (1947) pasted, mounted on canvas Nationalgalerie, Museum Musée national d’art Présages, cover maquette cut and pasted, and ink Gouache on paper, cut and The Nightmare of the White 43.3 × 34.3 (17 × 13½) Berggruen moderne / Centre de création Venus in a Shell I for the journal Verve, vol.I, 48.5 × 61.5 (19⅛ × 24¼) pasted, mounted on canvas Elephant (Le Cauchemar Centre Pompidou, Paris. C 37 (no. 40) industrielle. Dation, 1985 (Vénus à la coquille I) 1930 no.1 (1937) 1937 The Perl Collection 67.2 × 50.7 (26½ × 20) de l’éléphant blanc) 1943 Musée national d’art Tate only C 33 (no. 36) Bronze, 31.1 × 18.2 × 20.2 Gouache on paper, C 9 (no.12) Centre Pompidou, Paris. Maquette for plate IV from moderne / Centre de création (12¼ × 7⅛ × 8) cut and pasted, and ink Musée national d’art the illustrated book Jazz (1947) industrielle. Dation, 1985 The Wolf (Le Loup) 1944 The Lagoon (Le Lagon) 1944 Private collection 36.5 × 55.5 (14⅜ × 21⅞) Symphonie chromatique, moderne / Centre de création Gouache on paper, cut and C 29 (no. 32) Maquette for plate VI from Maquette for plate XVIII from Not in C (no. 127) Hilti Art Foundation, Schaan, cover maquette for the journal industrielle. Dation, 1985 pasted, mounted on canvas the illustrated book Jazz (1947) the illustrated book Jazz (1947) Tate only Liechtenstein Verve, vol. II, no. 8 (1940) 1939 C 16 (no. 18) 43.9 × 66.7 (17¼ × 26¼) The Cowboy Gouache on paper, cut and Gouache on paper, cut and C 3 (no. 11) Coloured papers, cut and Centre Pompidou, Paris. (Le Cow-Boy) 1943 pasted, mounted on canvas pasted, mounted on canvas The Dance (La Danse) 1931 pasted, 35.2 × 55.3 (13⅞ × 21¾) The Toboggan Musée national d’art Maquette for plate XIV from 45 × 67.1 (17¾ × 26⅜) 43.6 × 67.1 (17⅛ × 26⅜) Study for the Barnes mural Verve, vol.I, no.1 1937 (not illus.) Hilti Art Foundation, Schaan, (Le Toboggan) 1943 moderne / Centre de création the illustrated book Jazz (1947) Centre Pompidou, Paris. Centre Pompidou, Paris. (Paris version; recto and verso) The Museum of Modern Art Liechtenstein Maquette for plate XX from industrielle. Dation, 1985 Gouache on paper, cut and Musée national d’art Musée national d’art Gouache and pencil on paper Library, New York C 10 (no.13) the illustrated book Jazz (1947) C 20 (no. 21) pasted, mounted on canvas moderne / Centre de création moderne / Centre de création (recto); pencil and ink on paper MoMA only Gouache on paper, cut and 43 × 68 (16⅞ × 26¾) industrielle. Dation, 1985 industrielle. Dation, 1985 (verso), 14 × 40 (5½ × 15¾) Verve, vol. II, no. 8 1939 pasted, mounted on canvas Centre Pompidou, Paris. C 22 (no. 25) C 34 (no. 37) Private collection Verve, vol.I, no.1 1937 (not illus.) 63.2 × 53.3 (24⅞ × 21) Musée national d’art Not in C (no. 1) (not illus.) The Museum of Modern Centre Pompidou, Paris. moderne / Centre de création MoMA only Louisa Riley-Smith, Art Library, New York Musée national d’art industrielle. Dation, 1985 20th Century Art Archives MoMA only moderne / Centre de création C 30 (no. 33) Tate only industrielle. Dation, 1985 C 17 (no. 39)

284 285 The Lagoon (Le Lagon) 1944 Composition (Tahitian Calligraphic studies for Panel with Mask (Le Alga on Green Background Jazz 1947 (not illus.) The Bees (Les Abeilles) Pale Blue Window Maquette for plate XIX from Harmony) (Composition Jazz c. 1946 (not illus.) Panneau au masque) 1947 (Algue sur fond vert) 1947 Portfolio of 20 pochoir plates summer 1948 (Vitrail bleu pâle) the illustrated book Jazz (1947) [Harmonie tahitienne]) 1945–6 Four sheets, ink on paper Gouache on paper, cut and Gouache on paper, cut and Each sheet: 42.5 × 65.3 Preliminary maquette for November 1948 – January 1949 Gouache on paper, cut and Gouache on paper, Dimensions variable pasted, 110 × 53 (43¾ × 20⅞) pasted, 24.8 × 14.6 (9¾ × 5¾) (16¾ × 25¾) the side windows of the Second maquette for the pasted, mounted on canvas cut and pasted Pierre and Tana Matisse Designmuseum Danmark Pierre and Tana Matisse Published by Tériade, Paris Chapel of the Rosary, Vence apse window for the Chapel 44 × 67.1 (17⅜ × 26⅜) 56.5 × 36.5 (22¼ × 14⅜) Foundation, New York C 66 (no.56) Foundation, New York Printed in an edition of 100 (realised 1955 for H. Matisse of the Rosary, Vence Centre Pompidou, Paris. Private collection Not in C C 80 (no.70) by Edmond Vairel and primary school, Le Cateau- Two-part panel: gouache on Musée national d’art C 44 (no. 44) MoMA only The Eskimo (L’Esquimau) 1947 Draeger Frères, Paris Cambrésis) paper, cut and pasted, on kraft moderne / Centre de création Gouache on paper, cut and Black and Violet Arabesques The Museum of Modern Art, Gouache on paper, cut and paper, mounted on canvas industrielle. Dation, 1985 Composition (Red Circle with Ascher Square A 1947 pasted, 40.5 × 86 (16 × 33⅞) on Orange Background New York. Gift of the artist, pasted, mounted on canvas 509.8 × 252.3 (200¾ × 99⅜) C 35 (no. 38) Four Black Triangles on Green Printed blue silk Designmuseum Danmark (Arabesques noires et violettes 1948 101 × 241 (39¾ × 94⅞) Centre Pompidou, Paris. Background) (Composition 91.44 × 91.44 (36 × 36) C 67 (no.57) sur fond orange) 1947 Not in C Musée Matisse, Nice. Musée national d’art Drawing for Pierre à feu 1945 [cercle rouge aux quatre Produced in an edition of 275 Gouache on paper, MoMA only Gift of the artist’s family, 1963 moderne / Centre de création Pencil on paper, 27 × 21.1 triangles noirs sur fond vert]) in collaboration with Zika Composition, Black and Red cut and pasted C 90 (no.74) industrielle. Gift of Mme Jean (10⅝ × 8¼) 1945–6 Ascher (Czech, 1910–83) (Composition, noir et rouge) 40 × 26.5 (15¾ × 10⅜) Pierre à feu. Les Miroirs Tate only Matisse and Gérard Matisse, Private collection Gouache on paper, for Ascher Studio 1947 Collection Howard profonds 1947 (not illus.) 1982 Not in C (no. 41) cut and pasted The Ascher Family Collection Gouache on paper, cut and and Nancy Marks Fondation Marguerite et Aimé Flowering Tree (Mural Scroll) C 94 (no.77) MoMA only 52.5 × 40.5 (20⅝ × 16) Not in C (no. 50) pasted, 40.6 × 52.7 (16 × 20¾) C 82 (no.68) Maeght, Saint-Paul, France (Arbre en fleur) 1948 Private collection Davis Museum and Cultural Maquette for silkscreen Study for Virgin and Child Pierre à feu, unrealised cover C 48 (no. 47) Ascher Square B 1947 Center, Wellesley College, Screen Panel, Beige Palmette (Feuille violet sur (realised 1949) (Vierge à l’enfant) 1949 maquette for the book Les Printed grey silk Wellesley, MA. Gift of Professor Background (Feuille de fond orange) c. 1947 Gouache on paper, Ink on paper Miroirs profonds (1947) 1945 Ace of Clubs 91.44 × 91.44 (36 × 36) and Mrs John McAndrew paravent, fond beige) 1947 Gouache on paper, cut and cut and pasted 16.8 × 25.1 (6⅝ × 9⅞) Gouache on paper, cut (As de trèfle) 1945–6 Produced in an edition of 275 C 69 (no.64) Gouache on paper, pasted, 71.1 × 53.3 (28 × 21) 51.2 × 63.7 (20⅛ × 25⅛) Private collection and pasted, and pencil Gouache on paper, cut and in collaboration with Zika MoMA only cut and pasted Mr and Mrs Donald B. Marron, Private collection Not in C (fig.34) 24.8 × 42.5 (9¾ × 16¾) pasted, 53.7 × 41.4 (21⅛ × 16¼) Ascher (Czech, 1910–83) 162 × 53.5 (63¾ × 21) New York C 91 (no.61) MoMA only Private collection Private collection for Ascher Studio Two Masks (The Tomato) (Deux Private collection Not in C (no.71) Not in C (no. 43) C 52 (no. 48) Ascher Family Collection Masques [La Tomate]) 1947 C 83 (no.67) Cover maquette for the Study for St Dominic MoMA only MoMA only Not in C (no.51) Gouache on paper, MoMA only Interior with Black Fern journal Verve, vol. VI, (Saint Dominique) 1949 cut and pasted (Intérieur à la fougère noire) nos. 21–2 (1948) 1948 Ink on paper Pierre à feu, cover maquette The Sails (Les Voiles) 1945–6 Amphitrite 1947 47.7 × 51.8 (18¾ × 20⅜) Red Interior: Still Life on a Blue 1948 Gouache on paper, cut and 22.1 × 14.8 (8⅝ × 5⅞) for the book Les Miroirs Gouache on paper, cut Gouache on paper, Mr and Mrs Donald B. Marron, Table (Intérieur rouge, nature Oil on canvas pasted, 36 × 54 (14⅛ × 21¼) Private collection profonds (1947) 1945 and pasted, 52.7 × 40.4 cut and pasted New York morte sur table bleue) 1947 116.5 × 89.5 (45⅞ × 35¼) Private collection Not in C (fig.29) Gouache on paper, (20¾ × 15⅞) 85.5 × 70 (33⅝ × 27½) C 71 (no.62) Oil on canvas Fondation Beyeler, Riehen / C 92 (no.14) MoMA only cut and pasted, and ink Private collection Private collection 116 × 89 (45⅝ × 35) Basel, Beyeler Collection MoMA only 25 × 41 (9⅞ × 16⅛) C 53 (no. 45) C 61 (no.55) Negro Boxer Kunstsammlung Nordrhein- Not in C (no. 72) Study for Virgin and Child Fondation Marguerite et Aimé MoMA only (Boxeur nègre) 1947 Westfalen, Düsseldorf Tate only Verve, vol. VI, no. 21 / 22 1948 (Vierge à l’enfant) 1949 Maeght, Saint-Paul, France Composition with Red Gouache on paper, cut and Not in C (no.73) (not illus.) Ink and pencil on paper C 41 (no. 42) The Lyre (La Lyre) 1946 Cross (Composition à la pasted, 32 × 25.5 (12⅝ × 10) Tate only Celestial Jerusalem The Museum of Modern 16.5 × 30.2 (6½ × 11⅞) Gouache on paper, croix rouge) 1947 Private collection, New York (Jerusalem céleste) early 1948 Art Library, New York Private collection The Propeller cut and pasted Gouache on paper, C 73 (no.63) Jazz 1947 (not illus.) First maquette for the apse MoMA only Not in C (fig.33) (Motif – L’Hélice) 1945 31.6 × 23.3 (12½ × 9⅛) cut and pasted lllustrated book with window of the Chapel of MoMA only Gouache on paper, cut Private collection 74.1 × 52.4 (29⅛ × 20⅝) Composition, Yellow, Blue 20 pochoir plates the Rosary, Vence Study for the hands and pasted, and ink C 38 (no. 49) Private collection and Black (Composition, Overall: 42.4 × 33 × 4.4 Gouache on paper, cut and of St Dominic Simon of Cyrene Helps Jesus 52.5 × 40.5 (20⅝ × 16) C 62 (no.54) jaune, bleu et noir) 1947 (16⅝ × 13 × 1¾) pasted, on paper, mounted (Saint Dominique) 1948 to Carry the Cross (Simon de Pierre and Tana Matisse Oceania, the Sky (Océanie, Gouache on paper, cut and Published by Tériade, Paris on canvas, 265.5 × 130 Ink on paper Cyrène aidant Jésus) 1949 Foundation, New York le ciel) summer 1946 Composition Green Background pasted, 47 × 34 (18½ × 13⅜) Printed in an edition of 250 (104½ × 51⅛) 21.5 × 17 (8½ × 6⅔) Study for the Fifth C 49 (no. 46) (realised as silkscreen 1946) (Composition fond vert) 1947 Private collection by Edmond Vairel and Centre Pompidou, Paris. Private collection Station of the Cross Gouache on paper, cut and Gouache on paper, cut C 76 (no.58) Draeger Frères, Paris Musée national d’art moderne/ Not in C (fig.31) Ink on paper Verve, vol. IV, no. 13 1945 pasted, on paper, mounted and pasted, and pencil The Museum of Modern Art, Centre de création industrielle. MoMA only 26.7 × 20.3 (10½ × 8) (not illus.) on canvas, 178.3 × 369.7 104.1 × 40.3 (41 × 15⅞) White Alga on Red and Green New York. The Louis E. Stern Gift of Madame Claude Private collection The Museum of Modern (70⅛ × 145½) The Menil Collection, Houston Background (Algue blanche Collection, 1964 Duthuit in memory of Claude Leaf Motif (Motif – Feuille) Not in C (no.79a) Art Library, New York Musée départemental C 64 (no.66) sur fond rouge et vert) 1947 Not in C Duthuit, 2013 c. 1948 MoMA only MoMA only Matisse, Le Cateau-Cambrésis. Gouache on paper, C 89 (no.75) Maquette for scarf Gift of the Matisse family, 2004 Composition (The Velvets) cut and pasted Jazz 1947 (not illus.) (realised c.1948) Veronica Wipes the Verve, vol. IV, no. 13 1945 C 55 (no. 52) (Composition [Les Velours]) 52.5 × 40.5 (20¾ × 16) lllustrated book with Gouache on paper, Face of Jesus (La Voile (not illus.) 1947 Fondation Beyeler, Riehen/ 20 pochoir plates cut and pasted, and ink de Véronique) 1949 Louisa Riley-Smith, Oceania, the Sea (Océanie, Gouache on paper, Basel, Beyeler Collection 42 × 32.2 (16⅝ × 12⅝) 34 × 19.5 (13⅜ × 7⅝) Study for the Sixth 20th Century Art Archives la mer) summer 1946 cut and pasted C 77 (no.59) Scottish National Gallery Pierre and Tana Matisse Station of the Cross Tate only (realised as silkscreen 1946) 51.5 × 217.5 (20¼ × 85⅝) of Modern Art, Edinburgh Foundation, New York Ink on paper Gouache on paper, cut and Kunstmuseum Basel. Acquired White Alga on Orange and Red Not in C Not in C (no.69) 26.3 × 20.3 (10⅜ × 8) pasted, on paper, mounted with support from Dr Richard Background (Algue blanche sur Tate only Private collection on canvas, 178.5 × 392.8 Doetsch-Benziger, Basel, fond orange et rouge) 1947 Not in C (no.79b) (70¼ × 154⅝) and Marguerite Hagenbach, Gouache on paper, cut and MoMA only Musée départemental Basel, 1954 pasted, 52.5 × 40.5 (20⅝ × 16) Matisse, Le Cateau-Cambrésis. C 65 (no.65) Mr and Mrs Donald B. Marron, Gift of the Matisse family, 2004 New York C 56 (no. 53) C 79 (no.60) 286 287 Christ on the Cross Zulma early 1950 The Virgin and Child (La Grande Maquette forBlack Chasuble The Bell (La Cloche) 1951 Blue Nude I (Nu bleu I) Acrobat (Acrobate) 1952 Venus (Vénus) 1952 (Le Christ en croix) 1949 Gouache on paper, cut and Vierge à l’enfant) c. 1950 (back) 1950–2 Gouache on paper, cut and spring 1952 Ink on paper, 105.5 × 74.5 Gouache on paper, cut Study for the Twelfth pasted, 238 × 133 (93¾ × 52⅜) Charcoal on paper Gouache on paper, cut and pasted, and watercolour, Gouache on paper, cut and (41½ × 29⅜) and pasted, on white paper, Station of the Cross Statens Museum for Kunst, 330 × 610 (130 × 240¼) pasted, mounted on canvas mounted on canvas pasted, mounted on canvas Private collection mounted on paper panel Ink on paper Copenhagen Skissernas Museum – 132 × 197 (52 × 77⅝) 122 × 48.5 (48 × 19⅛) 106 × 78 (41¾ × 30¾) Not in C (fig.45) 101.2 × 76.5 (39⅞ × 30⅛) 26.7 × 20.3 (10½ × 8) C 109 (no.84) Museum of Artistic Process Centre Pompidou, Paris. Private collection Fondation Beyeler, Riehen / MoMA only National Gallery of Art, Private collection and Public Art, Lund, Sweden Musée national d’art C 156 (no.89) Basel, Beyeler Collection Washington. Ailsa Mellon Not in C (no.79c) Creole Dancer (Danseuse Not in C (no.76) moderne / Centre de création C 167 (no.109) Acrobats (Acrobates) Bruce Fund, 1973.18.2 MoMA only créole) June 1950 Tate only industrielle. On loan to Musée Tree (L’Arbre) December 1951 spring – summer 1952 C 181 (no.115) Gouache on paper, cut and départemental Matisse, Le Ink, gouache, and charcoal Blue Nude II (Nu bleu II) Gouache on paper, cut and Cover maquette for the book pasted, on paper, mounted Maquette forRed Chasuble Cateau-Cambrésis, 1986 on paper, mounted on canvas spring 1952 pasted, and charcoal on white Cover maquette for the Les Fauves by Georges Duthuit on canvas, 205.1 × 120 (front) 1950–2 C 155 (no.81) 177.8 × 152.4 (70 × 60) Gouache on paper, cut paper, mounted on canvas book The Decisive Moment (1949) 1949 (80¾ × 47¼) (realised 1952) Tate only The Metropolitan Museum and pasted, on white paper, 213 × 208.3 (83⅞ × 82) (Images à la sauvette) by Gouache on paper, cut and Musée Matisse, Nice. Gouache on paper, of Art, New York. The Pierre mounted on canvas Private collection Henri Cartier-Bresson pasted, 32.3 × 50.8 (12¾ × 20) Gift of Henri Matisse, 1953 cut and pasted Snow Flowers and Maria-Gaetana Matisse 116.2 × 88.9 (45¾ × 35) C 175 (no.113) (1952) 1952 Private collection C 110 (no.85) 133.4 × 198.4 (52½ × 78⅛) (Fleurs de neige) 1951 Collection, 2002, 2002.456.58 Centre Pompidou, Paris. Gouache on paper, C 100 (no.99) The Museum of Modern Art, Gouache on paper, Not in C (no.92) Musée national d’art Women and Monkeys cut and pasted, and ink The Thousand and One Nights New York. Acquired through cut and pasted, on paper, moderne / Centre de création (Femmes et singes) 1952 36 × 57 (14⅛ × 22½) Les Fauves, by Georges (Les Mille et Une Nuits) the Lillie P. Bliss Bequest, 1953 mounted on canvas Vegetables (Végétaux) c. 1951 industrielle. Purchase, 1984 Gouache on paper, Musée départemental Matisse, Duthuit 1949 (not illus.) June 1950 C 145 (no.82) 174 × 80.6 (68 ½ × 31 ¾) Gouache on paper, cut and C 168 (no.110) cut and pasted, and Le Cateau-Cambrésis. Gift of Louisa Riley-Smith, Gouache on paper, cut and The Metropolitan Museum pasted, 175 × 81 (68⅞ × 31⅞) charcoal on white paper Mme Marie Matisse, 1995 20th Century Art Archives pasted, 139 × 374 (54¾ × 147¼) Maquette forRed Chasuble of Art, New York. Jacques Private collection Blue Nude III (Nu bleu III) 71.7 × 286.2 (28¼ × 112⅝) C 187 (no.102) Tate only Carnegie Museum of Art, (back) 1950–2 and Natasha Gelman C 118 (no.95) spring 1952 Museum Ludwig, Köln / Pittsburgh. Acquired through (realised 1952) Collection, 1998, 1999.363.46 Gouache on paper, cut Sammlung Ludwig Cover maquette for Study for The Tree of Life the generosity of the Sarah Gouache on paper, C 117 (no.94) Cover maquette for the book and pasted, on white paper, C 176 (no.120) the exhibition catalogue (L’Arbre de vie) c.1949 Mellon Scaife Family, 71.23 cut and pasted Apollinaire by André Rouveyre mounted on canvas, Henri Matisse: papiers Ink on paper C 111 (no.86) 128.2 × 199.4 (50½ × 78½) Cover maquette for the book (1952) 1951–2 112 × 73.5 (44⅛ × 29) The Swimming Pool découpés (1953) 1952 27 × 21 (10⅝ × 8¼) The Museum of Modern Art, Matisse: His Art and his Public Gouache on paper, cut and Centre Pompidou, Paris. (La Piscine) Gouache on paper, Private collection The Japanese Mask (Le Masque New York. Acquired through by Alfred H. Barr, Jr. (1951) pasted, 32.7 × 25.4 (12⅞ × 10) Musée national d’art late summer 1952 cut and pasted Not in C (fig.35) japonais) early 1950 the Lillie P. Bliss Bequest, 1953 1951 The Mourlot Archives moderne / Centre de création Maquette for ceramic 23.2 × 12.2 (9⅛ × 4¾) MoMA only Gouache on paper, cut and C 146 (no.83) Gouache on paper, cut and C 189 (no.103) industrielle. Purchase, 1982 (realised 1999 and 2005) Private collection pasted, 79.5 × 49.5 (31¼ × 19½) pasted, 27 × 42.9 (10⅝ × 16⅞) C 169 (no.111) Gouache on paper, C 197 (no.104) Maquettes for the Private collection Maquettes for a set of The Museum of Modern Art, Black Leaf on Red Background cut and pasted, on Tate only tabernacle of the Chapel C 112 (no.88) red and yellow liturgical New York. Transferred from (Feuille noire sur fond Blue Nude IV (Nu bleu IV) painted paper, overall of the Rosary, Vence c.1949 MoMA only vestments c. 1950 The Museum of Modern Art rouge) 1952 spring 1952 185.4 × 1643.3 (73 × 647) Henri Matisse 1952 (not illus.) (related design realised 1951) (realised 1952) Publications Department, 1953 Gouache on paper, cut and Gouache on paper, cut and Installed as nine panels in The Museum of Modern Art Gouache on paper, Study for the stained-glass Gouache on paper, cut and C 122 (no.101) pasted, 50 × 40 (19¾ × 15¾) pasted, and charcoal on white two parts on burlap-covered Library, New York cut and pasted window The Tree of Life pasted, mounted on paper Private collection paper, mounted on canvas walls 345.4 (136) high. Frieze MoMA only 20.3 × 24.8 (8 × 9¾) (a) (L’Arbre de vie) 1950 Stole: 124.5 × 19 (49 × 7½) Matisse: His Art and his Public, C 118 (no.97) 102.9 × 76.8 (40½ × 30¼) installed at a height of 165 (65) 19.7 × 24.8 (7¾ × 9¾) (b) Frosted coloured glass, Maniple: 43.2 × 21.3 (17 × 8⅜) by Alfred H. Barr, Jr. 1951 Musée d’Orsay, Paris, The Museum of Modern Art, Apollinaire, by André Rouveyre, 20.3 × 25.4 (8 × 10) (c) set with lead, 62.3 × 85 × 2 Chalice veil: 51.4 × 51.4 (not illus.) Black Leaf on Green on long-term loan to the New York. Mrs. Bernard 1952 (not illus.) Private collection (24½ × 33½ × ¾) (20¼ × 20¼) The Museum of Modern Background (Feuille noire Musée Matisse, Nice. Gift F. Gimbel Fund, 1975 Louisa Riley-Smith, Not in C (no.78) Produced in collaboration with Burse: 25.4 × 22.2 (10 × 8¾) Art Archives, New York sur fond vert) 1952 of Mme Jean Matisse, 1979 C 177 (no.121) 20th Century Art Archives MoMA only Paul Bony (French, 1911–82) The Museum of Modern Art, MoMA only Gouache on paper, cut and C 170 (no.107) MoMA only Tate only Musée Matisse, Nice. Bequest New York. Acquired through pasted, 60 × 39 (23⅝ × 15⅜) The Four Rosettes with Blue of Madame Henri Matisse, the Lillie P. Bliss Bequest, 1953 Cover maquette for The Menil Collection, Houston The Parakeet and the Mermaid Standing Blue Nude Christmas Eve (Nuit de Noël) Motifs (Les Quatres Rosaces 1960 C 147 the exhibition catalogue C 159 (no.96) (La Perruche et la sirène) 1952 (Nu bleu debout) 1952 summer – fall 1952 (not illus.) aux motifs bleus) 1949–50 Not in C (fig.36) MoMA only Henri Matisse (1951) 1951 Gouache on paper, cut and Gouache on paper, cut and Stained glass Gouache on paper, cut and MoMA only Gouache on paper, cut and Christmas Eve pasted, and charcoal on pasted, 112.7 × 73.7 (44⅜ × 29) 322.8 × 135.9 (127 × 53½) pasted, 38 × 54 (15 × 21¼) Maquette forBlack Chasuble pasted, 27 × 40 (10⅝ × 15¾) (Nuit de Noël) 1952 white paper, 337 × 768.5 The Metropolitan Museum of Produced in collaboration with Collection of Mr Julian Fish (Poissons) 1950 (not illus.) (front: ‘Esperlucat’) 1950–2 The Museum of Modern Art, (realised 1952) (132⅝ × 302½) Art, New York. The Pierre and Paul Bony (French, 1911–82) Robertson Study for the embroidery Gouache on paper, cut and New York. Transferred from Maquette for stained-glass Collection Stedelijk Museum, Maria-Gaetana Matisse The Museum of Modern Art, C 103 (no.90) on the altar cloth pasted, mounted on canvas The Museum of Modern Art window Amsterdam, acquired with Collection, 2002, 2002.456.58 New York. Gift of Time, Inc., Ink on three sheets of paper, 125.6 × 197.6 (49½ × 77¾) Publications Department, 1953 Gouache on paper, cut and the generous support of the C 179 (no.114) 1953 Mimosa 1949–51 joined, 79.1 × 20.8 (31⅛ × 8 ¼) Centre Pompidou, Paris. C 123 (no.100) pasted, mounted on board Vereniging Rembrandt and the Not in C Maquette for rug Private collection Musée national d’art 322.8 × 135.9 (127 × 53½) Prins Bernhard Cultuurfonds Blue Nude, the Frog (realised 1951) MoMA only moderne / Centre de création Chinese Fish The Museum of Modern Art, C 172 (no.118) (Nu bleu, la grenouille) 1952 Little Girl (La Fillette) c. 1952 Gouache on paper, cut and industrielle. On loan to Musée (Poissons chinois) 1951 New York. Gift of Time Inc., Gouache on paper, cut and Gouache on paper, cut and pasted, mounted on canvas départemental Matisse, Maquette for stained-glass 1953 Blue Nude with Green Stockings pasted, mounted on canvas pasted, 152.4 × 117.5 (60 × 46¼) 148 × 98 (58¼ × 38⅝) Le Cateau-Cambrésis, 1986 window (realised 1951) C 162 (no.98) (Nu bleu aux bas verts) 1952 141 × 134 (55½ × 52¾) Private collection Ikeda Museum of 20th C 154 (no.80) Gouache on paper, cut and Gouache on paper, cut Fondation Beyeler, Riehen / C 165 (no.87) Century Art, Ito, Japan Tate only pasted, and charcoal on white and pasted, 260 × 168 Basel, Beyeler Collection MoMA only C 158 (no.91) paper, mounted on canvas (102⅜ × 66⅛) C 180 (no.116) 189.9 × 90.2 (74¾ × 35½) Fondation Louis Vuitton, Paris MoMA only Colección Patricia Phelps C 173 (no.117) de Cisneros C 127 (no.93) 288 289 Untitled (study for Blue Memory of Oceania The Sheaf (La Gerbe) 1953 Cover maquette for the Courtesy Henri Matisse Archives 4, 8, RMN-Grand Palais / Philippe Migeat fig.20, Nude [Nu bleu]) c. 1952 (Souvenir d’Océanie) Maquette for ceramic journal Verve, vol. IX, nos. 35–6 Photo Credits 10, 13, 24, 47, 49, 63, 67, 77, 86, 89, 100, fig.40 Coloured pencil on paper summer 1952 – early 1953 (realised 1953) (1958) c. 1954 101, 106, 119, 125, 132, 133, 135 “Centre Pompidou – MnamCci – 27 × 21 (10⅝ × 8¼) Gouache on paper, cut and Gouache on paper, cut Gouache on paper, cut Photo: Claude Mercier Photography 99 Bibliothèque Kandinsky” Photo by Indianapolis Museum of Art. pasted, and charcoal on and pasted, on paper, and pasted, 35.9 × 54.9 All images by Henri Matisse © Succession © 2014 Digital image. The Metropolitan Hélène Adant fig.28, fig.30, fig.50 Gift of Mr and Mrs J.W. Alsdorf paper, mounted on canvas mounted on canvas (14⅛ × 21⅝) H. Matisse / DACS 2014 Museum of Art / Art Resource / Scala © Conde Nast fig.11 Not in C (no.108a) 284.4 × 286.4 (112 × 112⅞) 294 × 350 (115¾ × 137¾) Private collection Florence 2, 92, 94, 114 Foto: Lydia Delectorskaya fig.47, fig.63 MoMA only The Museum of Modern Art, Collection University of C 215 (no.16) Courtesy Mourlot Archives 103 Photo: François Fernandez fig.36 New York. Mrs Simon California, Los Angeles. MoMA only Plates Photo by: Mark Morosse 93 © J. Paul Getty Trust Foto: Alexander Untitled (study for Blue Guggenheim Fund, 1968 Hammer Museum. Gift of Courtesy of Frederick Mulder Ltd 105 Liberman fig.60 Nude [Nu bleu]) c. 1952 C 199 (no.130) Mr and Mrs Sidney F. Brody Image courtesy Aquavella Galleries 95 Image courtesy Museum of Modern Art, Foto: Fondation Beyeler, Riehen / Basel Coloured pencil on paper C 206 (no.136) Works not by Matisse © 2014 The Barnes Foundation Archives 3 New York 79a–c, 82, 83, 88, 98, 121 figs.53–9, figs.67–9, fig.71 27 × 21 (10⅝ × 8¼) The Snail (L’Escargot) 1953 Photo: Robert Bayer, Basel 54, 59, 72, 109, © 2014 Digital image The Museum of Graphic: Fondation Beyeler fig.62, figs.64–5 Indianapolis Museum of Art. Gouache on paper, Coloured samples for Frédéric Rossif 116, 135 Modern Art, New York / Scala Florence © Getty Images fig.8 Gift of Mr and Mrs J.W. Alsdorf cut and pasted, on paper, The Sheaf 1953 (not illus.) (French, 1922–90; not illus.) bpk / Nationalgalerie, Museum Berggruen, 130 Photo by Interfoto (Venice) fig.3 Not in C (no.108b) mounted on canvas Nine sheets, gouache on [Matisse], rushes 1950 SMB / Jens Ziehe 15, 40 © National Gallery of Art, Washington © Felix H. Mann fig.27 MoMA only 286.4 × 287 (112¾ × 113) paper, dimensions variable Film, 16 mm (transferred Photo Philip Bernard 102 115, 123, 131 Courtesy Henri Matisse Archives fig.2, Tate. Purchased with assistance Los Angeles County Museum to DVD at The Museum The Bridgeman Art Library 108c © Rheinisches Bildarchiv Köln, fig.5, figs.7–8, fig.14, figs.16–19, fig.23, fig.25, Untitled (study for Blue from the Friends of the of Art. Gift of Frances L. Brody of Modern Art), colour, Photo: Cathy Carver ID186 rba_d016269 120 figs.37–9, figs.42–4, fig.46, figs.48–9, fig.52, Nude [Nu bleu]) c.1952 Tate Gallery, 1962 Not in C and silent, 8 min Photo: Christopher Burke frontispiece, p. 8, Photo Alberto Ricci 17 fig.66 Pencil on paper C 198 (no.129) La Cinémathèque française 14, 16, 22, 23, 41, 43, 45, 46, 48, 50, 51, 69, Photo: Skissernas Museum 76 The Morgan Library & Museum, New York 27 × 21 (10⅝ × 8¼) Green Alga on Black 70, 78, 87, 108d, 112, 113 © SMK Photo 84 fig.26 The Detroit Institute of Arts. Woman with Amphora and Background (The Swan) Paul Bony © Centre Pompidou, MNAM-CCI, Dist. Courtesy of Sotheby’s Picture Library 97 Image courtesy Museum of Modern Art, Gift of John S. Newberry Pomegranates (Femme à (Algue verte sur fond noir (French, 1911–82; not illus.) RMN-Grand Palais / Philippe Migeat 7, 18, Photo © Stedelijk 118 New York fig.29, fig.31, figs.33–4, fig.41 Not in C (no.108c) l’amphore et grenades) 1953 [La Cygne]) 1953 Tracings for the stained-glass 19, 20, 21, 25, 26, 27, 28, 29, 30, 31, 32, 33, © 2014 Tate Photography 104, 126, 129 © Paris Match / Getty Images fig.1 MoMA only Gouache on paper, cut and Gouache on paper, cut and window Christmas Eve 34, 35, 36, 37, 38, 39, 75, 124 Photo J.-F. Tomasian 52, 53 Photo Roger Schall © Collection Schall pasted, mounted on canvas pasted, 81 × 65 (31⅞ × 25⅝) (Nuit de Noël) 1951 © Centre Pompidou, MNAM-CCI, Dist. figs.9-10, fig.21 Untitled (study for Blue 243.8 × 96.2 (95⅞ × 37⅞) Private collection Pencil on tracing paper RMN-Grand Palais / Droits reserves 80, Photo: Skissernas Museum fig.32 Nude [Nu bleu]) c.1952 National Gallery of Art, MoMA only A: 134 × 147 (52¾ × 57⅞) 81, 110, 111, front cover Photo essay Pencil on paper Washington. Ailsa Mellon C 211 (page 8) B: 85 × 148 (33½ × 58¼) © Christie’s Images / The Bridgeman Art 27 × 21 (10⅝ × 8¼) Bruce Fund, 1973.18.3 C: 58 × 150 (22⅞ × 59) Library 44, 68 Photo: © Tetsuo Abe. Courtesy Tsutomu Abe Private collection C 201 (no.123) Ivy in Flower D: 73 × 149 (28¾ × 58⅝) © Christie’s Images Limited 2014, 12, 46 (Japan) pp. 68–9, pp. 80–1 Not in C (no.108d) (Lierre en fleur) 1953 Fonds atelier Bony, Paris Dallas Museum of Art, Foundation for the © Hélène Adant courtesy Matisse Archives MoMA only Woman with Amphora Maquette for stained-glass Not in C Arts Collection 134 p.47, p.71, p.73, p.79, p.82 (Femme à l’amphore) 1953 window (realised 1956) Davis Museum and Culture Center, © M. Bérard p.46 Untitled (study for Blue Gouache on paper, cut and Gouache on paper, cut Paul Bony Wellesley College, Wellesley, MA 64 © Henri Cartier-Bresson / Magnum Photos Nude [Nu bleu]) c. 1952 pasted, mounted on canvas and pasted, and pencil (French, 1911–82; not illus.) Photo: Marc Domage courtesy Fondation p.36 Ink on paper 168.5 × 48 (66⅜ × 18⅞) on coloured paper Colour samples for the Louis Vuitton 117 “Centre Pompidou – MnamCci – 27 × 21 (10⅝ × 8¼) Centre Pompidou, Paris. 284.2 × 286.1 (111⅞ × 112⅝) stained-glass window Christmas Photo: Mike Fear 127 Bibliothèque Kandinsky” Photo by Hélène Rhode Island School of Design. Musée national d’art moderne / Dallas Museum of Art, Eve (Nuit de Noël) 1951 Photo: François Fernandez 74, 85, 107, Adant pp.32–5, pp.52–3, p.56, p.58, p.62, Gift of Mr and Mrs Barnet Fain Centre de création industrielle, Foundation for the Arts Glass 122, 128 p.66, p.74, p.77 Not in C (no.108e) on long-term loan to the Collection. Gift of the Albert Dimensions variable © 2014. Photo Fine Art Images / Heritage © Clifford Coffin p.43, p.45 MoMA only Musée Matisse, Nice and Mary Lasker Foundation Fonds atelier Bony, Paris Images / Scala, Florence 9 © Lucien Hervé pp.48–9, pp.54–5 C 202 (no.124) C 212 (no. 134) Not in C Photo: Fondation Beyeler, Riehen / Basel 72 © Dimitri Kessel, Paris p.70 Ten drawings of Acrobats © Photo Claude Germain – Archives Courtesy Henri Matisse Archives pp.40–1, (Acrobates) c. 1952 Large Decoration with Acanthuses (Les Acanthes) 1953 Adrien Maeght Fondation Maeght, Saint-Paul de Vence p.57, p.59, p.61, pp.63–5, p.67, p.72, pp.75–6, Ink on paper, each (vertical or Masks (Grande Décoration Maquette for ceramic (French, b. 1930; not illus.) (France) 42 p.78, p.83 horizontal) 27 × 21 (8¼ × 10⅝) aux masques) 1953 (realised 1953) Matisse Making Cut-Outs Photography by Erik Gould, courtesy of © Paris Match / Getty Images pp.50–1, Private collection Preliminary maquette Gouache on paper, cut (Matisse faisant des papiers the Museum of Art, Rhode Island School The Pierpont Morgan Library, New York. Not in C (no.112) for ceramic and pasted, and charcoal découpés) 1945 of Design, Providence 108e MA 5020. Gift of the Pierre Matisse MoMA only Gouache on paper, cut and on white painted paper, Film, 16 mm (transferred Photo: Hickey-Robertson, Houston 66, 96 Foundation, 1997 p.37 pasted, and ink on white mounted on canvas to DVD at The Museum Courtesy Hilti Foundation 11 © John Rewald, NY p.60 The Wave (La Vague) c. 1952 paper, mounted on canvas 311.7 × 351.8 (122¾ × 138½) of Modern Art), black and Ikeda Museeum of Twentieth Century Art, © Michel Sima / Rue des Archives pp.38–9, Gouache on paper, 353.6 × 996.4 (139¼ × 392¼) Fondation Beyeler, Riehen / white, and silent, 1 min Ito City, Japan 91 p.42, p.44, cut and pasted National Gallery of Art, Basel, Beyeler Collection Galerie Maeght, Paris Photographer: Alex Jamison 1, 55 51.1 × 158.4 (20⅛ × 62⅜) Washington. Ailsa Mellon C 213 (no. 135) © Maeght 2014 Photo: Pernille Klemp 56, 57 Musée Matisse, Nice. Bruce Fund, 1973.17.1 Kunstsammlung Nordrhein-Westfalen, Essay comparatives Gift of the artist’s estate, 1963 C 203 (no.131) Cover maquette for Dusseldorf, Germany / The Bridgeman C 163 (no.122) the exhibition catalogue Art Library 73 akg / Archivio Cameraphoto Epoche fig.22, MoMA only Henri Matisse: Lithographies Kunstmuseum Basel, Photo: Martin P. back cover Rares (1954) c. 1954 Bühler 65 © 2014 The Barnes Foundation Archives Gouache on paper, cut and Private Collection, courtesy of Lefevre fig.6, figs.12–13, fig.15 pasted, 22.1 × 23.6 (8¾ × 9¼) Fine Art, London 61 Photo Philip Bernard fig.4, fig.24, fig.61 Courtesy of Frederick Photo by Eric Lubrick, courtesy of the Photo: Christopher Burke fig.35, fig.45 Mulder Ltd IMA 108a–b © Centre Pompidou, MNAM-CCI, Dist. C 214 (no. 105) Tate only 290 291 Thank you for downloading this preview of Henri Matisse: The Cut-Outs. To continue reading, purchase the book by clicking here.

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