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Henri Matisse: a Retrospective

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Henri Matisse: a Retrospective Henri Matisse, Composition tdth Standing Nude and Blatk Fern,,11 i" x 29 i" brush and ink on paper, 1948. Collection: Mus6e National d'Art Moderne, Centre Georges Pompidou, Paris. 44 HENRI MATISSE : A RETROSPECTIVE V.S. Wilson 0,@--T- Qec-fu*t nez c) & o Z UCr- m |Il< C n ()m -Tt l-.{ <o)m o U a) m Z d .T7 --l (o7JC m ,-N \ L,lJ -U nm o o T Matisse, The n E Henri Morocutrs,Tl"i' x9'2" oil on canvas, 1915-16. Collection The Museum of Modern An. T trl HENRI MAT I S S E :,.4 REIIROS PE C T IW, curated by John Eldefreld, at the --l Museum of Modern Art, I\ew York, September 12, 1992 -January 12, 1993. An oasis can be surrounded by turbulences and e{Iect. They have sheltered from both which are equa1, indifferent, and identical, at which sonretinres shape inro hirmonious randomness and determinism. In a place like least when far. Concrete physical waves waves. Windstornls nlay blow the sands of a hotel room in Nice, or Tahiti, a person can don't fit flat upon the grid, and deserts and the desert (or churn the waters of the sea) into convalesce from the sickness of the times such seas, sand and water, are not flat but war,ry, waves which interGre with each other as wild as one reads about in the daily newspaper. three-dimensional surfaces. Put melons on a curvatures rapidly push each other forward. Neither oasis nor hotel room, horseback or flat grid-a sheer surface-to see what hap- But sand and water can sometimes settle sailboat, hired model or ornamental decora- pens to the geometric regulariry of flat sur- 'W'aves down for the iong durations when the waves tions on a wai1, requires a permanent com- faces under pressure of living growth. of sand or water may have differences, but mitm ent. will undulate, rhizomes wili spread beyond often the differences are the same unchanging One seeks harbor, oasis, or hotel to avoid their allotted piots, and melons will rumple a differences, and rather uninformative. turbulence. Without u'alls. one is too open to C.id. A nomad moving either through stormy turmoil, as of an open system with too few For a man to paint his self-portrait in a turbulences or through lack of significant dif- boundaries and with changes which are too sailor's shirt (Self-Portfait, 1906), on rectangu- ferentiations, might find a middle way at a fast to be used as signs of life: the dangers of lar canvas, is to think about sailing waves of hotel on an oasis. A man who paints paint- systemlessness and disintegration of a whole seas which are charted, or waves of sand ings, which are hung on wa11s, might stay which requires some boundaries. With walk, which are mapped, and to be open to waves temporarily in a hotel, and as a guest, night one is closed to freedom of movement, as in a of music and to any waves which to-and-fro ride horseback, take a sail, or hire a model in closed system which suffers entropy and runs between a person and an object of desire. order to paint a painting. Henri Matisse rode down. On one hand, a wild centrifugal force Curving stripes on a shirt are like waves in the horses, sailed sailboats, hired models, arranged accelerating too rapidly, straining the bonds; water which gently urge each othet along. mirrors, tacked pictures on walls, and painted and on the other hand, a seltexhausting cen- Even a beard can keep a face from changing paintings. He enjoyed activities in which he tripetal force which paralyzes itself "LiG"- too quickly from day to day, the way the adjusted his perspectives while logking for- as that is recommended as the "good life" or newspaper changes unless it is spread in a stu- ward, and sometimes while moving from side as having a "good 1ims"-6n12i15 setting one's dio to preserve the floor. In this early self- to side, as in moving along an arabesque, own pace for change consistent with harmo- portrait, the painter doesn't seem to be going when perspectives change without ioss of an nious growth, and the growth of harmonies. any'lvhere besides for a tum in a sailboat. The approximate continuiry. "LiG," to Henri Matisse, is liG-waves. waves of the artist are outside on his shirt, and An oasis, and some islands, some pastoral A grid-as on a map of a desert, or a chart perhaps sti1l enclosed within. He does not Arcadias, have been as though outside a natu- of the sea-is geometrically regular, and himself body forth waves yet. ralistic and deterministic sequence of cause unchanging in abstract relations among units Matisse, hereinafter M., paints his son, or a f .' hr'. ., al$r:r, a] k:tltlrl &ilttii Catalan fisherman, x The Young Sailor 1,7906, Both coiling spirals and barricading walls are gold lights effervescing on the surface of rhe lvith a hint of checkerboard stocking, and felt as mass, as massive interference with his water. with drips of paint. Grids tend to immobility, self-expression as the invention ofsigns oflife. M., youthful and poor, buys a painting by while drips move down a surface, and so call For him, in a life of signs, to move forward, as Paul C6zanne to hang upon a literal closed attention to the suface as a surface, hence to in growing, is a sign of life, and he uses such wall, which is one with any metaphorical wall the painting as paint upon a cloth surface movement to convey to people how they as the dead-end of his emotional reach. A which doesn't have much material mass. The should themselves show signs of life. An painting by C6zanne annihilates the massive boy looks petulant, as though he would like arabesque is an imperative, like "You must wall which blocks his rapport, alrd hts will to to move someplace else, psing such freedom change your torso." rapport. With the C6zanne, he divides what of passage as the sailor-suit proposes, but When Nazi forces are massed against he sees in front of him between the mass of which his pose denies. His petulance looks France, M. goes with passport and visa to take material wall, and the aesthetic illusion with like a self-immobilizing fixity of emotion, yet passage to Rio de Janeiro: "'When I saw no mass. Thus he effective\ annihilates the one eyebrow suggests a wave as a clue to the everlthing in such a mess I had them reim- wall which would close his feelings and imagery in his imagination. Scarcely ever burse my ticket." "Mess" blocks his passage; thoughts in cubic volume. When he says that again will M..paint a face in a fixed expression mess is as much mass-undifferentiable C6zarne is the "god" of painting, by "god" which suggests inner emotions as though forces-as stolidity is. He retums to Nice in he means a power which has divided labor, emerging from an extensive continuum hid- order to paint lessons in how to overcome and power, with omnipotence, or with a den in some depths. total or totalitarian systems which are massed totalitarian power (see Hans Blumenberg, The M. returns to the boy latec The Young against France, who is sleeping and dreaming. Work o[ Myth). Sailor II, 1906. Here the checkerboard grid For M., an aesthetic illusion of light in a A totaliry is an impenetrable mass which on the stocking is flattened, and tilted, not painting, within a rectangle, can force mass to M. cannot thinl his way through unless with quite yielding to. the cures of the leg. But recede. The evidence is that a painting has the improbable power of aesthetic illusions of here waves of movement undulate across the the power to render the material wali sub- light. He thinks his way forward, in a con- sailor-boy's face, and so set his surface in sidiary to an immaterial aesthetic illusion. frontation with mass, by using the effects of motion. Rather than the selFparalyzing petu- The aesthetic illusion exists in relation to mass light on mass, like the effects of light on oil lance of The Young Sailor I, the face and_ body the way his sincerity, tnrth, and love eist in paint on canvas, and ofthe canvas on the wall. are visually self-activating as he sets himself in relation to massive physical and material den- In a letter to Pierre Bonnard, he defines light motion while setded upon a chair. M. thinks sities. Because his values exist the way an aes- as spiritual space. with waves and grids which are to be recon- thetic illusion exists, when the picture plane is M. portrays himselfl, sitting down, in Sef ciled, as a grid printed on the surface of a flat the focal plane of his belief and faith in those Potrait, 7978. His hand pushes a brush for- balloon would expand and curve as the bal- values, he credits artistic illusions with power ward toward the canvas which will recede as loon was blown up and seemed to grow in which exists the way the power of meaning the physical surface becomes visually sub- three dimensions. If the lad moves forward in or value exists. His values and his meanings sidiary to the image and the spatial illusion. those stockings, he will move the grid for- are to hold against turbulences and to advance The wall behind him is indefinite, and where ward through changing perspectives, yet with against blockades.
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