On Henri Matisse’s birthday, revisit Peter Schjeldahl on the painter who threw himself into his work “like a beast that plunges towards the thing it loves.”
Matisse threw himself into painting “like a beast that plunges towards the thing it loves.”Henri Matisse, unlike the other greatest modern painter, Pablo Picasso, with whom he sits on a seesaw of esteem, hardly exists as a person in most people’s minds. One pictures a wary, bearded gent, owlish in glasses—perhaps with a touch of the pasha about him, from images of his last years in Vence, near Nice, in a house full of sumptuous fabrics, plants, freely flying birds, and comely young models.
Matisse was not taught to paint; he just started doing it. His first two canvases, from 1890, are essentially consummate Old Master-ish still-lifes, the first one pretty good and the second, featuring opulent reds, a knockout. He had style before he had craft, which he picked up along the way by copying paintings in the Louvre and taking classes with, among others, the arch-academician Adolphe-William Bouguereau and the Symbolist Gustave Moreau.
Matisse himself precipitated the most significant and indelible controversy of his career. In 1908, in a famous text, “Notes of a Painter,” he stated as his ideal an art “for every mental worker, for the businessman as well as the man of letters, for example, a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue.
One well believes Spurling that life with Matisse could be “close to unendurable,” but enduring it had been Amélie’s vocation, through years of impoverished existence in studio-centered homes. What eroded her role was security, which Shchukin’s patronage provided, along with a big suburban house in Issy-les-Moulineaux, where the family moved in 1909, and from which Matisse was increasingly absent. Matisse continued to depend on Amélie, just not enough.
Matisse was so consumed by aesthetic sensibility that his responses to life, when not baffled and distraught, were like unwitting prose poems. Asked to recommend a possible mate for Jean, he sized up one young woman as “tall, well made, limbs a bit long—sprawling movements like a young dog—intelligent, very gifted and very reserved.” His habits were incredibly regular.
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