Editing Henri Matisse

{{Short description|French artist (1869–1954)}}
{{Redirect|Matisse}}
{{EngvarB|date=December 2013}}
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{{Infobox artist
| image         = Henri Matisse, 1913, photograph by Alvin Langdon Coburn.jpg
| caption       = Matisse in 1913
| birth_name    = Henri Émile Benoît Matisse
| birth_date    = {{Birth date|df=yes|1869|12|31}}
| birth_place   = [[Le Cateau-Cambrésis]], France
| death_date    = {{Death date and age|df=yes|1954|11|3|1869|12|31}}
| death_place   = [[Nice]], [[France]]
| spouse        = {{marriage|Amélie Noellie Parayre|1898|1939|end=div}}
| children      = 3, including [[Pierre Matisse|Pierre]]
| movement      = [[Fauvism]], [[Modernism]], [[Post-Impressionism]]
| awards        = 
| patrons       = [[Sergei Shchukin]], [[Gertrude Stein]], [[Etta Cone]], [[Claribel Cone]], [[Sarah Stein]], [[Albert C. Barnes]]
| field         = {{hlist|Painting|[[printmaking]]|sculpture|drawing|[[collage]]}}
| training      = {{Lang|fr|[[Académie Julian]]|italic=no}}, [[William-Adolphe Bouguereau]], [[Gustave Moreau]]
| works         = ''[[Woman with a Hat]]'' (1905)<br />''[[Le bonheur de vivre|The Joy of Life]]'' (1906)<br />''[[Blue Nude (Souvenir de Biskra)|Nu bleu]]'' (1907)<br />''[[Dance (Matisse)|La Danse]]'' (1909)<br />''[[The Red Studio|L'Atelier Rouge]]'' (1911)<br />''[[The Snail]]'' (1953)
|module={{Infobox person|child=yes
| signature        = Matisse autograph.svg}}
}}

'''Henri Émile Benoît Matisse''' ({{IPA|fr|ɑ̃ʁi emil bənwa matis|lang}}; 31 December 1869 – 3 November 1954) was a [[French people|French]] [[visual arts|visual artist]], known for both his use of colour and his fluid and original draughtsmanship. He was a [[drawing|draughtsman]], [[printmaking|printmaker]], and [[sculpture|sculptor]], but is known primarily as a painter.<ref>{{cite journal |last=Myers |first=Terry R. |date=July–August 2010 |title=Matisse-on-the-Move |url=http://brooklynrail.org/2010/07/artseen/matisse-on-the-move |journal=The Brooklyn Rail}}</ref>

Matisse is commonly regarded, along with [[Pablo Picasso]], as one of the artists who best helped to define the [[revolutionary]] developments in the visual arts throughout the opening decades of the twentieth century, responsible for significant developments in painting and sculpture.<ref>{{cite web|title=Tate Modern: Matisse Picasso|url=http://www.tate.org.uk/whats-on/tate-modern/exhibition/matisse-picasso|access-date=13 February 2010|publisher=Tate.org.uk}}</ref><ref>{{cite news|author=Adrian Searle|date=7 May 2002|title=Searle, Adrian, ''A momentous, tremendous exhibition'', The Guardian, Tuesday 7 May 2002|work=Guardian|location=UK|url=https://www.theguardian.com/culture/2002/may/07/artsfeatures|access-date=13 February 2010}}</ref><ref>{{cite web|title=Trachtman, Paul, ''Matisse & Picasso'', Smithsonian, February 2003|url=http://www.smithsonianmag.com/arts-culture/matisse-amp-picasso-75440861/?no-ist|access-date=13 February 2010|publisher=Smithsonianmag.com}}</ref><ref>{{cite news|date=1 December 2004|title=Duchamp's urinal tops art survey|publisher=news.bbc.co.uk|url=http://news.bbc.co.uk/2/hi/entertainment/4059997.stm|access-date=10 December 2010}}</ref>

The intense colourism of the works he painted between 1900 and 1905 brought him notoriety as one of the [[Fauvism|Fauves]] ([[French language|French]] for "wild beasts"). Many of his finest works were created in the decade or so after 1906, when he developed a rigorous style that emphasized flattened forms and decorative pattern. In 1917, he relocated to a suburb of [[Nice]] on the [[French Riviera]], and the more relaxed style of his work during the 1920s gained him critical acclaim as an upholder of the classical tradition in [[French painting]].<ref>Wattenmaker, Richard J.; [[Distel, Anne]], et al. (1993). ''Great French Paintings from the Barnes Foundation''. New York: Alfred A. Knopf. {{ISBN|0-679-40963-7}}. p. 272</ref> After 1930, he adopted a bolder simplification of [[form (visual art)|form]]. When ill health in his final years prevented him from painting, he created an important body of work in the medium of cut paper [[collage]].

His mastery of the expressive language of colour and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in [[modern art]].<ref>[http://www.metmuseum.org/toah/hd/mati/hd_mati.htm Magdalena Dabrowski Department of Nineteenth-Century, Modern, and Contemporary Art, The Metropolitan Museum of Art Source: Henri Matisse (1869–1954) {{!}} Thematic Essay {{!}} Heilbrunn Timeline of Art History {{!}} The Metropolitan Museum of Art] Retrieved 30 June 2010.</ref>

==Early life and education==
[[File:Reading henri matisse.jpg|thumb|upright|''[[Woman Reading]]'' (''La Liseuse''), 1895, oil on board, 61.5 x 48 cm, [[Le Cateau-Cambrésis]], [[Matisse Museum (Le Cateau)|Musée Matisse]]]]
Matisse was born in [[Le Cateau-Cambrésis]], in the [[Nord (French department)|Nord]] [[Departments of France|department]] in Northern France on [[New Year's Eve]] in 1869, the oldest son of a wealthy [[grain trade|grain merchant]].<ref>Spurling, Hilary (2000). ''The Unknown Matisse: A Life of Henri Matisse: The Early Years, 1869–1908''. University of California Press, 2001. {{ISBN|0-520-22203-2}}. pp. 4–6</ref> He grew up in [[Bohain-en-Vermandois]], [[Picardy|Picardie]]. In 1887, he went to [[Paris]] to study law, working as a court administrator in [[Le Cateau-Cambrésis]] after gaining his qualification. He first started to paint in 1889, after his mother brought him art supplies during a period of convalescence following an attack of [[appendicitis]]. He discovered "a kind of paradise" as he later described it,<ref>Leymarie, Jean; Read, Herbert; Lieberman, William S. (1966), ''Henri Matisse'', UCLA Art Council, p.9.</ref> and decided to become an artist, deeply disappointing his father.<ref name="kuester">Bärbel Küster. "Arbeiten und auf niemanden hören." ''[[Süddeutsche Zeitung]]'', 6 July 2007. {{in lang|de}}</ref><ref name="unknown" />

In 1891, he returned to Paris to study art at the {{Lang|fr|[[Académie Julian]]|italic=no}} under [[William-Adolphe Bouguereau]] and at the [[Beaux-Arts de Paris|École Nationale des Beaux-Arts]] under [[Gustave Moreau]]. Initially he painted [[still life]]s and [[Landscape painting|landscapes]] in a traditional style, at which he achieved reasonable proficiency. Matisse was influenced by the works of earlier masters such as [[Jean-Baptiste-Siméon Chardin]], [[Nicolas Poussin]], and [[Antoine Watteau]], as well as by modern artists, such as [[Édouard Manet]], and by [[Japanese art]]. Chardin was one of the painters Matisse most admired; as an art student he made copies of four of Chardin's paintings in the [[Louvre]].<ref>Spurling, Hilary. ''The Unknown Matisse: A Life of Henri Matisse, the Early Years, 1869–1908''. p.86. accessed online 15 July 2007</ref>

In 1896, Matisse, an unknown art student at the time, visited the Australian painter [[John Russell (Australian artist)|John Russell]] on the island of [[Belle Île]] off the coast of [[Brittany]].{{sfnp| Spurling|1998|loc= 119–138}}<ref name="abc">{{cite web|last=interview with [[Hilary Spurling]]|date=8 June 2005|title=The Unknown Matisse&nbsp;... – Book Talk|url=http://www.abc.net.au/rn/arts/booktalk/stories/s1430343.htm|access-date=1 August 2016|work=[[ABC Online]]}}</ref> Russell introduced him to [[Impressionism]] and to the work of [[Vincent van Gogh]]—who had been a friend of Russell—and gave him a Van Gogh drawing. Matisse's style changed completely: abandoning his earth-coloured palette for bright colours. He later said Russell was his teacher, and that Russell had explained [[colour theory]] to him.<ref name="unknown" /> The same year, Matisse exhibited five paintings in the salon of the [[Société Nationale des Beaux-Arts]], two of which were purchased by the state.<ref>[https://archive.today/20120724064029/http://www.cosmopolis.ch/english/cosmo2/matisse.htm Henri and Pierre Matisse], ''Cosmopolis'', No 2, January 1999</ref><ref name="abc" />{{sfnp|Spurling|1998|loc= 138}}[[File:Henri + Amélie Matisse Portrait 1898.jpg|thumb|left|alt=Two greyscale photos where each photo is in the shape of an oval: Henri Matisse (left) and Amélie Matisse (right)|Henri and Amélie Matisse, 1898]]With the model Caroline Joblau, he had a daughter, Marguerite, born in 1894. In 1898, he married Amélie Noellie Parayre; the two raised Marguerite together and had two sons, Jean (born 1899) and [[Pierre Matisse|Pierre]] (born 1900). Marguerite and Amélie often served as models for Matisse.<ref>[http://www.xs4all.nl/~androom/biography/p018905.htm Marguerite Matisse] Retrieved 13 December 2010</ref>

In 1898, on the advice of [[Camille Pissarro]], he went to London to study the paintings of [[J. M. W. Turner]] and then went on a trip to [[Corsica]].<ref name="Oxford">Oxford Art Online, "Henri Matisse"</ref> Upon his return to Paris in February 1899, he worked beside [[Albert Marquet]] and met [[André Derain]], [[Jean Puy]],<ref name="UCLA10">Leymarie, Jean; Read, Herbert; Lieberman, William S. (1966), ''Henri Matisse'', UCLA Art Council, p.10.</ref> and [[Jules Flandrin]].{{Citation needed|date=April 2025}} Matisse immersed himself in the work of others and went into debt from buying work from painters he admired. The work he hung and displayed in his home included a plaster bust by [[Auguste Rodin|Rodin]], a painting by [[Paul Gauguin|Gauguin]], a drawing by Van Gogh, and [[Paul Cézanne|Cézanne]]'s ''[[Three Bathers]]''. In Cézanne's sense of pictorial structure and colour, Matisse found his main inspiration.<ref name="UCLA10" />

Many of Matisse's paintings from 1898 to 1901 make use of a [[Divisionism|Divisionist]] technique he adopted after reading [[Paul Signac]]'s essay, "{{lang|fr|D'[[Eugène Delacroix]] au Néo-impressionisme}}".<ref name="Oxford" />

In May 1902, Amélie's parents became ensnared in a major financial scandal, the [[Thérèse Humbert|Humbert Affair]]. Her mother (who was the Humbert family's housekeeper) and father became scapegoats in the scandal, and her family was menaced by angry mobs of fraud victims.<ref name="Spurling_NYRB">Spurling, Hilary, 2005, "Matisse's Pajamas", ''The New York Review of Books'', 11 August 2005, pp.&nbsp;33–36.</ref> According to art historian [[Hilary Spurling]], "their public exposure, followed by the arrest of his father-in-law, left Matisse as the sole breadwinner for an extended family of seven".<ref name="Spurling_NYRB" /> During 1902 to 1903, Matisse adopted a style of painting that was comparatively somber and concerned with form, a change possibly intended to produce saleable works during this time of material hardship.<ref name="Spurling_NYRB" /> Having made his first attempt at sculpture, a copy after [[Antoine-Louis Barye]], in 1899, he devoted much of his energy to working in clay, completing ''The Slave'' in 1903.<ref>Leymarie, Jean; Read, Herbert; Lieberman, William S. (1966), ''Henri Matisse'', UCLA Art Council, pp.19–20.</ref><gallery class="center" widths="160" heights="160">
File:Matisse the study of moreau.jpg|''[[Gustave Moreau]]'s Studio'', 1894&ndash;1895
File:Matisse - Blue Pot and Lemon (1897).jpg|''Blue Pot and Lemon'' (1897), [[Hermitage Museum]], [[Saint Petersburg|St. Petersburg]], Russia
File:Matisse Mur Rose.jpg|''[[Le Mur Rose]]'', 1898, [[Jewish Museum Frankfurt]]
File:Matisse - Vase of Sunflowers (1898).jpg|''Vase of Sunflowers'' (1898), [[Hermitage Museum]], [[Saint Petersburg|St. Petersburg]], Russia
File:Study of a nude by Matisse.jpg|''Study of a Nude'', 1899, [[Bridgestone Museum of Art]], [[Tokyo]]
File:Henri Matisse, 1899, Still Life with Compote, Apples and Oranges, oil on canvas, 46.4 x 55.6 cm, The Cone Collection, Baltimore Museum of Art.jpg|''Still Life with Compote, Apples and Oranges,'' 1899, [[Cone sisters|The Cone Collection]], [[Baltimore Museum of Art]]
</gallery>

==Fauvism==
{{Main|Fauvism}}
[[File:Matisse-Woman-with-a-Hat.jpg|thumb|left|upright|''[[Woman with a Hat]]'', 1905. [[San Francisco Museum of Modern Art]]]]
[[Fauvism]] as a style began around 1900 and continued beyond 1910. The [[Art movement|movement]] as such lasted only a few years, 1904–1908, and had three exhibitions.<ref name=elderfield13>[[John Elderfield]], The ''"Wild Beasts" Fauvism and Its Affinities,'' 1976, [[Museum of Modern Art]], p.13, {{ISBN|0-87070-638-1}}</ref><ref>Freeman, Judi, et al., ''The Fauve Landscape'', 1990, Abbeville Press, p. 13, {{ISBN|1-55859-025-0}}.</ref> The leaders of the movement were Matisse and [[André Derain]].<ref name=elderfield13/> Matisse's first solo exhibition was at [[Ambroise Vollard]]'s gallery in 1904,<ref name="UCLA10" /> without much success. His fondness for bright and expressive colour became more pronounced after he spent the summer of 1904 painting in [[St. Tropez]] with the [[neo-Impressionism|neo-Impressionist]]s Signac and [[Henri-Edmond Cross]].<ref name="Oxford" /> In that year, he painted the most important of his works in the neo-Impressionist style, ''[[Luxe, Calme et Volupté]]''.<ref name="Oxford" /> In 1905, he travelled southwards again to work with [[André Derain]] at [[Collioure]]. His paintings of this period are characterised by flat shapes and controlled lines, using [[pointillism]] in a less rigorous way than before.

Matisse and a group of artists now known as "[[Fauvism|Fauves]]" exhibited together in a room at the [[Salon d'Automne]] in 1905. The paintings expressed emotion with wild, often dissonant colours, without regard for the subject's natural colours. Matisse showed ''[[The Open Window (Matisse)|The Open Window]]'' and ''[[Woman with a Hat]]'' at the Salon. Critic [[Louis Vauxcelles]] commented on a lone sculpture surrounded by an "orgy of pure tones" as "[[Donatello]] chez les fauves" (Donatello among the wild beasts),<ref name="bnf-gallica-vauxcelles">Vauxcelles, Louis. [http://gallica.bnf.fr/ark:/12148/bpt6k7522165g/f5.image], Gil Blas, Supplément à Gil Blas du 17 octobre 1905, p.8, col.1, Salle VII (end). Retrieved from France Gallica, bibliothèque numérique (digital library), Bibliothèque nationale de France, 1 December 2013.</ref> referring to a [[Renaissance]]-type sculpture that shared the room with them.<ref name="oup-fauvism">Chilver, Ian (Ed.). [http://www.enotes.com/oxford-art-encyclopedia/fauvism "Fauvism"] {{Webarchive|url=https://web.archive.org/web/20111109091224/http://www.enotes.com/oxford-art-encyclopedia/fauvism|date=9 November 2011}}, The Oxford Dictionary of Art, [[Oxford University Press]], 2004. Retrieved from enotes.com, 26 December 2007.</ref> His comment was printed on 17 October 1905 in ''[[Gil Blas (periodical)|Gil Blas]]'', a daily newspaper, and passed into popular usage.<ref name=elderfield13/><ref name="oup-fauvism"/> The exhibition garnered harsh criticism—"A pot of paint has been flung in the face of the public", said the critic [[Camille Mauclair]]—but also some favourable attention.<ref name="oup-fauvism"/> When the painting that was singled out for special condemnation, Matisse's, ''Woman with the Hat'', was bought by [[Gertrude Stein|Gertrude]] and [[Leo Stein]], the embattled artist's morale improved considerably.<ref name="oup-fauvism"/>
[[File:Matissetoits.gif|thumb|''[[Les toits de Collioure]]'', 1905, oil on canvas, [[Hermitage Museum|The Hermitage]], [[St. Petersburg, Russia]]]]
Matisse was recognised as a leader of the Fauves, along with André Derain; the two were friendly rivals, each with his own followers. Other members were [[Georges Braque]], [[Raoul Dufy]], and [[Maurice de Vlaminck]]. The [[Symbolism (movement)|Symbolist]] painter [[Gustave Moreau]] (1826–1898) was the movement's inspirational teacher. As a professor at the [[École des Beaux-Arts]] in Paris, he pushed his students to think outside of the lines of formality and to follow their visions.

In 1907, [[Guillaume Apollinaire]], commenting about Matisse in an article published in ''La Falange'', wrote, "We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable."<ref>''Picasso and Braque pioneering cubism'', [[William Rubin]], published by the [[Museum of Modern Art]], New York, copyright 1989, {{ISBN|0-87070-676-4}} p.348.</ref> But Matisse's work of the time also encountered vehement criticism, and it was difficult for him to provide for his family.<ref name=unknown/> His painting ''[[Blue Nude (Souvenir de Biskra)|Nu bleu]]'' (1907) was burned in effigy at the [[Armory Show]] in Chicago in 1913.<ref name=Britannica>{{Britannica|369401}}</ref>

The decline of the Fauvist movement after 1906 did not affect the career of Matisse; many of his finest works were created between 1906 and 1917, when he was an active part of the great gathering of artistic talent in [[Montparnasse]], even though he did not quite fit in, with his conservative appearance and strict [[bourgeois]] work habits. He continued to absorb new influences. He travelled to [[Algeria]] in 1906 studying African art and [[Primitivism]]. After viewing a large exhibition of [[Islamic art]] in Munich in 1910, he spent two months in Spain studying Moorish art. He visited [[Morocco]] in 1912 and again in 1913 and while painting in [[Tangier]] he made several changes to his work, including his use of black as a colour.<ref name="The Moroccans">{{Cite web|url=https://www.moma.org/collection/works/79588|title=Henri Matisse. The Moroccans. Issy-les-Moulineaux, late 1915 and fall 1916 &#124; MoMA|website=The Museum of Modern Art}}</ref><ref>{{Cite web|url=https://www.nga.gov/exhibitions/1990/matisse_morocco.html|title=Matisse in Morocco|website=www.nga.gov}}</ref><ref>{{Cite web|url=https://www.nytimes.com/1990/06/22/arts/review-art-matisse-and-the-mark-left-on-him-by-morocco.html?pagewanted=all&src=pm|title=Review/Art; Matisse and the Mark Left on Him by Morocco|first=John|last=Russell|work=The New York Times |date=22 June 1990|via=NYTimes.com}}</ref> The effect on Matisse's art was a new boldness in the use of intense, unmodulated colour, as in ''[[L'Atelier Rouge]]'' (1911).<ref name="Oxford" />

Matisse had a long association with the Russian art collector [[Sergei Shchukin]]. He created one of his major works ''[[The Dance (painting)|La Danse]]'' specially for Shchukin as part of a two painting commission, the other painting being ''[[Music (Matisse)|Music]]'' (1910). An earlier version of ''La Danse'' (1909) is in the collection of [[The Museum of Modern Art]] in New York City.

=== Selected works (1901–1910) ===
<gallery widths="160" heights="160" class="center">
File:Matisse - Luxembourg Gardens (1901).jpg|''Luxembourg Gardens'', 1901, [[Hermitage Museum]], [[Saint Petersburg|St. Petersburg]], Russia
File:Matisse - Dishes and Fruit (1901).jpg|''Dishes and Fruit'', 1901, [[Hermitage Museum]], [[Saint Petersburg|St. Petersburg]], Russia
File:Henri Matisse, 1902, Notre-Dame, une fin d'après-midi, oil on paper mounted on canvas, 72.4 x 54.6 cm, Albright-Knox Art Gallery.jpg|''[[Notre-Dame, une fin d'après-midi|A Glimpse of Notre-Dame in the Late Afternoon]]'', 1902, [[Albright–Knox Art Gallery]], [[Buffalo, New York]]
File:Matisse-Luxe.jpg|''[[Luxe, Calme et Volupté]]'', 1904, [[Musée d'Orsay]], [[Paris]], France<ref>{{Cite web |url=http://www.musee-orsay.fr/en/collections/index-of-works/notice.html?no_cache=1&zsz=5&lnum=11 |title=Matisse, ''Luxe, calme et volupté'', 1904, Musée d'Orsay, Paris, France |access-date=14 April 2013 |archive-url=https://web.archive.org/web/20130531074741/http://www.musee-orsay.fr/en/collections/index-of-works/notice.html?no_cache=1&zsz=5&lnum=11 |archive-date=31 May 2013  }}</ref>
File:Matisse-Open-Window.jpg|''[[The Open Window (Matisse)|Open Window, Collioure]]'', 1905, [[National Gallery of Art]], [[Washington, D.C.]]
File:Matisse - Green Line.jpeg|''[[Green Stripe|Portrait of Madame Matisse (The green line)]],'' 1905, [[Statens Museum for Kunst]], [[Copenhagen]], Denmark
File:Bonheur Matisse.jpg|''[[Le bonheur de vivre]]'', 1905–6, [[Barnes Foundation]], [[Philadelphia]], [[Pennsylvania]]
File:Henri Matisse Self-Portrait in a Striped T-shirt (1906).jpg|''[[Self-Portrait in a Striped T-shirt]]'', 1906, [[Statens Museum for Kunst]], [[Copenhagen]], Denmark
File:Young Sailor II.jpg|''[[The Young Sailor II]],'' 1906, [[Metropolitan Museum of Art]], [[New York City]]
File:Matisse - Vase, Bottle and Fruit (1906).jpg|''Vase, Bottle and Fruit'', 1906, [[Hermitage Museum]], [[Saint Petersburg|St. Petersburg]], Russia
File:Matisse Souvenir de Biskra.jpg|''[[Blue Nude (Souvenir de Biskra)|Blue Nude]]'', 1907, [[Baltimore Museum of Art]], [[Baltimore]], [[Maryland]]
File:Matisse.mme-matisse-madras.jpg|''[[Madras Rouge]]'', ''The Red Turban'', 1907, [[Barnes Foundation]], [[Philadelphia]], [[Pennsylvania]]<br />(Exhibited at the 1913 Armory Show)<ref>{{Cite web|url=http://www.aaa.si.edu/collections/images/detail/armory-show-postcard-reproduction-henri-matisses-painting-red-turban-14175|title = Armory Show postcard with reproduction of Henri Matisse's painting the red turban, 1913, from the Walt Kuhn Family papers and Armory Show records, 1859-1984, bulk 1900-1949}}</ref>
File:Bathers with a turtle.jpg|''[[Bathers with a Turtle]]'', 1908, [[Saint Louis Art Museum]], [[St. Louis]]
File:Matisse - Game of Bowls.jpg|''[[Game of Bowls]],'' 1908, [[Hermitage Museum]], [[Saint Petersburg|St. Petersburg]], Russia
File:Henri Matisse, 1909, La danse (I), Museum of Modern Art.jpg|''[[Dance (Matisse)|La Danse (first version)]],'' 1909, [[Museum of Modern Art]], [[New York City]]
File:Matissedance.jpg|''[[Dance (Matisse)|La Danse (second version)]],'' 1910, [[Hermitage Museum]], [[Saint Petersburg|St. Petersburg]], Russia
</gallery>

=== Sculpture ===
<gallery widths="160" heights="160" class="center">
File:Henri Matisse, 1900-1904, Le Serf (The Serf, Der Sklave), bronze.jpg|''Le Serf'' (''The Serf, Der Sklave''), 1900–1904, bronze
File:Henri Matisse, 1905, Sleep, wood, exhibition Blue Rose (Голубая Роза), 1907, location unknown.jpg|''Sleep'', 1905, wood, exhibition Blue Rose (Голубая Роза), 1907, location unknown
File:Henri Matisse, 1906-07, Nu couché, I (Reclining Nude, I), exhibited at Montross Gallery, New York, 1915.jpg|''Nu couché, I'' (''Reclining Nude, I''), 1906–07, bronze, exhibited at Montross Gallery, New York, 1915
File:Henri Matisse, 1908, Figure décorative, bronze.jpg|''Figure décorative'', 1908, bronze
File:Matisse - left to right 'The Back I', 1908-09, 'The Back II', 1913, 'The Back III' 1916, 'The Back IV', c. 1931, bronze, Museum of Modern Art (New York City).jpg|''[[The Back Series]],'' bronze, left to right: ''The Back I,'' 1908–09, ''The Back II,'' 1913, ''The Back III'' 1916, ''The Back IV,'' c. 1931, all [[Museum of Modern Art]], New York City
</gallery>

==Gertrude Stein, Académie Matisse, and the Cone sisters==
[[File:Portrait of Henri Matisse 1933 May 20.jpg|thumb|left|upright|Henri Matisse, 1933, by [[Carl Van Vechten]]]]
Around April 1906, Matisse met [[Pablo Picasso]], who was 11 years his junior.<ref name=unknown>[http://www.abc.net.au/rn/arts/booktalk/stories/s1430343.htm The Unknown Matisse, pp 352–553...], [[Radio National|ABC Radio National]], 8 June 2005</ref> The two became lifelong friends as well as rivals and are often compared. One key difference between them is that Matisse drew and painted from nature, while Picasso was more inclined to work from imagination. The subjects painted most frequently by both artists were women and [[still life]]s, with Matisse more likely to place his figures in fully realised interiors. Matisse and Picasso were first brought together at the Paris [[salon (gathering)|salon]] of [[Gertrude Stein]] with her partner [[Alice B. Toklas]]. During the first decade of the twentieth century, the Americans in Paris—Gertrude Stein, her brothers [[Leo Stein]], Michael Stein, and Michael's wife [[Sarah Stein|Sarah]]—were important collectors and supporters of Matisse's paintings. In addition, Gertrude Stein's two American friends from [[Baltimore]], the [[Cone sisters]] Claribel and Etta, became major patrons of Matisse and Picasso, collecting hundreds of their paintings and drawings. The Cone collection is now exhibited in the [[Baltimore Museum of Art]].<ref>[http://www.artbma.org/collection/overview/cone.html Cone Collection] {{webarchive|url=https://web.archive.org/web/20141019145733/http://www.artbma.org/collection/overview/cone.html |date=19 October 2014 }}, Baltimore Museum of Art. Retrieved 29 July 2007.</ref>

[[File:Henri Matisse, 1915-16, The Moroccans, oil on canvas, 181.3 x 279.4 cm, Museum of Modern Art.jpg|thumb|250px|Henri Matisse, ''The Moroccans'', 1915–16, oil on canvas, 181.3 x 279.4 cm, [[Museum of Modern Art]]<ref name="The Moroccans" />]]
While numerous artists visited the Stein salon, many of these artists were not represented among the paintings on the walls at [[27 rue de Fleurus]]. Where the works of [[Pierre-Auguste Renoir|Renoir]], Cézanne, Matisse, and Picasso dominated Leo and Gertrude Stein's collection, Sarah Stein's collection particularly emphasised Matisse.<ref>(MoMA, 1970 at 28)</ref>

Contemporaries of Leo and Gertrude Stein, Matisse and Picasso became part of their social circle and routinely joined the gatherings that took place on Saturday evenings at 27 rue de Fleurus. Gertrude attributed the beginnings of the Saturday evening salons to Matisse, remarking, "More and more frequently, people began visiting to see the Matisse paintings [...] Matisse brought people, everybody brought somebody, and they came at any time and it began to be a nuisance".<ref>Mellow, 1974, p. 84</ref>

Among Pablo Picasso's acquaintances who also frequented the Saturday evenings were [[Fernande Olivier]] (Picasso's mistress), [[Georges Braque]], [[André Derain]], the poets [[Max Jacob]] and [[Guillaume Apollinaire]], [[Marie Laurencin]] (Apollinaire's mistress and an artist in her own right), and [[Henri Rousseau]].<ref>Mellow, 1974, p. 94-95</ref>

His friends organized and financed the ''Académie Matisse'' in Paris, a private and non-commercial school in which Matisse instructed young artists. It operated from 1907 until 1911. The initiative for the academy came from the Steins and the [[Le Dôme Café#Dômiers|Dômiers]], with the involvement of [[Hans Purrmann]], [[Patrick Henry Bruce]], and [[Sarah Stein]].<ref>[https://books.google.com/books?id=vlY6SLmg-xEC&dq=Hans+Purrmann+and+Sarah+Stein,+students+of+matisse&pg=PA64 Christopher Green, ''Art in France, 1900–1940'', Pelican History of Art Series, Yale University Press, 2003, p. 64], {{ISBN|0300099088}}</ref>

Matisse spent seven months in [[Morocco]] from 1912 to 1913, producing about 24 paintings and numerous drawings. His frequent [[orientalism|orientalist]] topics of later paintings, such as [[odalisque]]s, can be traced to this period.<ref>{{cite book
 |title=Matisse in Morocco: The Paintings and Drawings, 1912–1913 |url=https://archive.org/details/matisseinmorocco00cowa |url-access=registration |first1=Jack |last1=Cowart |first2=Pierre |last2=Schneider |first3=John |last3=Elderfield |year=1990}}</ref> [[Henri Matisse and goldfish|Goldfish in aquariums]] also became a frequently recurring theme in Matisse's art following his trip to Morocco.<ref name=Wilkins2015>{{cite web|last=Wilkins|first=Charlotte|url=https://smarthistory.org/matisse-goldfish/|title=Matisse, ''Goldfish''|publisher=[[Smarthistory]]|date=9 August 2015|access-date=20 September 2022}}</ref><ref name=Pushkin>{{cite web|url=https://pushkinmuseum.art/data/fonds/europe_and_america/j/2001_3000/zh_3299/index.php?lang=en|title=Henri Matisse ''Goldfish''. 1912|publisher=[[Pushkin Museum]]|access-date=20 September 2022}}</ref>

===Selected works (1910–1917)===
<gallery class="center" widths="160" heights="160">
File:Matisse518.jpg|''[[Still Life with Geraniums]],'' 1910, [[Pinakothek der Moderne]], Munich, Germany
File:Atelier rouge matisse 1.jpg|''[[L'Atelier Rouge]]'', 1911, [[The Museum of Modern Art]], New York City
File:Matisse Conversation.jpg|''[[The Conversation (painting)|The Conversation]],'' {{circa|1911}}, The [[Hermitage Museum|Hermitage]], [[Saint Petersburg|St. Petersburg]], Russia
File:Henri Matisse, 1911-12, La Fenêtre à Tanger (Paysage vu d'une fenêtre Landscape viewed from a window, Tangiers), oil on canvas, 115 x 80 cm, Pushkin Museum.jpg|''[[Window at Tangier]],'' 1911–12, The [[Pushkin Museum of Fine Arts]], Moscow
File:Goldfish Matisse.jpg|''[[Goldfish (Matisse)|Goldfish]]'', 1912, [[Pushkin Museum of Fine Arts]], Moscow
File:Matisse Riffian.jpg|''[[Le Rifain assis]]'', 1912–13, 200 × 160&nbsp;cm. [[Barnes Foundation]]
File:Henri Matisse, 1913, Portrait of the Artist's Wife, oil on canvas, 146 x 97.7 cm, Hermitage, Saint Petersburg.jpg|''Portrait of the Artist's Wife'', 1913, [[Hermitage Museum]], Saint Petersburg
File:Henri Matisse, 1913, La glace sans tain (The Blue Window), oil on canvas, 130.8 x 90.5 cm, Museum of Modern Art.jpg|''La glace sans tain'' (''The Blue Window''), 1913, [[Museum of Modern Art]]
File:Matisse Woman on a high stool.jpg|''[[Woman on a High Stool]],'' 1914, [[Museum of Modern Art]], New York City
File:Henri Matisse - View of Notre Dame. Paris, quai Saint-Michel, spring 1914.jpg|''[[View of Notre-Dame]],'' 1914, [[Museum of Modern Art]]
File:Porte-Fenetre a Collioure 1914.jpg|''French Window at [[Collioure]]'', 1914. [[Musée National d'Art Moderne]], Paris
File:Yellow Curtain.jpg|''[[Le rideau jaune|The Yellow Curtain]],'' 1915, [[Museum of Modern Art]], New York
File:Studio, Quad Saint Michel.jpeg|''Studio, Quad Saint Michel'', 1916, [[The Phillips Collection]]
File:Henri Matisse, 1916-17, Auguste Pellerin II, oil on canvas, 150.2 x 96.2 cm, Centre Georges Pompidou, Paris.jpg|''Auguste Pellerin II'', 1916–17, [[Musée National d'Art Moderne]], Paris
File:Henri Matisse, 1916-17, Le Peintre dans son atelier (The Painter and His Model), oil on canvas, 146.5 x 97 cm, Musée National d'Art Moderne, Centre Georges Pompidou, Paris.jpg|''[[The Painter and His Model]] (Le Peintre dans son atelier)'', 1916–17, Musée National d'Art Moderne, Paris
File:Henri Matisse, 1917, Portrait de famille (The Music Lesson), oil on canvas, 245.1 x 210.8 cm, Barnes Foundation.jpg|''Portrait de famille (The Music Lesson)'', 1917, oil on canvas, 245.1 x 210.8&nbsp;cm, [[Barnes Foundation]]
</gallery>

==After Paris==
[[File:Henri Matisse, 1918, Portrait du peintre (Autoportrait, Self-portrait), oil on canvas, 65 x 54 cm, Matisse Museum (Le Cateau).jpg|thumb|''Self-portrait'', 1918, [[Matisse Museum (Le Cateau)]]]]
[[File:Henri Matisse et Léonide Massine (Ballets russes, Opéra) (4565877526).jpg|thumb|Matisse with [[Léonide Massine]] preparing ''[[Le chant du rossignol]]''. The ballet debut occurred on 2 February 1920 at the [[Palais Garnier|Théâtre National de l'Opéra]] in Paris. Massine did the choreography and Matisse the sets, costumes and curtain designs.<ref name="Joseph">Joseph, Charles M. (2002) "Stravinsky and Balanchine, A Journey of Invention", New Haven: Yale University Press. ISBN ML 410 S932 J6 652002</ref>]]
[[File:Le chant du Rossignol, Tamara Karsavina with dancers. Costume designs by Henri Matisse, 1920.jpg|thumb|''Le Chant du Rossignol'', [[Tamara Karsavina]] with dancers. Costume designs by Matisse, 1920]]
[[File:Henri Matisse, 1920-21, Odalisque, oil on canvas, 61.4 x 74.4 cm, Stedelijk Museum.jpg|thumb|''Odalisque'', 1920–21, oil on canvas, 61.4 x 74.4 cm, [[Stedelijk Museum]]]]
In 1917, Matisse relocated to [[Cimiez]] on the [[French Riviera]], a suburb of the city of [[Nice]]. His work of the decade or so following this relocation shows a relaxation and softening of his approach. This "[[return to order]]" is characteristic of much post-[[World War I]] art, and can be compared with the [[neoclassicism]] of Picasso and [[Igor Stravinsky|Stravinsky]] as well as the return to traditionalism of [[André Derain|Derain]].<ref>Cowling, Elizabeth; Jennifer Mundy (1990). ''On Classic Ground: Picasso, Léger, de Chirico and the New Classicism 1910-1930''. London: Tate Gallery. pp. 14, 92, 184. {{ISBN|1-854-37043-X}}.</ref>
Matisse's [[orientalism|orientalist]] [[odalisque]] paintings are characteristic of the period; while this work was popular, some contemporary critics found it shallow and decorative.<ref>Jack Cowart and Dominique Fourcade. ''Henri Matisse: The Early Years in Nice 1916–1930''. Henry N. Abrams, Inc., 1986. p. 47. {{ISBN|978-0810914421}}.</ref>

In the late 1920s, Matisse once again engaged in active collaborations with other artists. He worked with not only Frenchmen, Dutch, Germans, and Spaniards, but also a few Americans and recent American immigrants.

After 1930, a new vigor and bolder simplification appeared in his work. American art collector [[Albert C. Barnes]] convinced Matisse to produce a large mural for the [[Barnes Foundation]], ''[[The Dance II]]'', which was completed in 1932; the Foundation owns several dozen other Matisse paintings. This move toward simplification and a foreshadowing of the cut-out technique is also evident in his painting ''Large Reclining Nude'' (1935). Matisse worked on this painting for several months and documented the progress with a series of 22 photographs, which he sent to Etta Cone.<ref>[http://www.thejewishmuseum.org/site/pages/uploaded_media/cone/matisse/index.html Henri Matisse Photographic documentation of 22 progressive states of Large Reclining Nude, 1935], The Jewish Museum {{webarchive |url=https://web.archive.org/web/20130529094429/http://www.thejewishmuseum.org/site/pages/uploaded_media/cone/matisse/index.html |date=29 May 2013 }}</ref>

==World War II years==
Matisse's wife Amélie, who suspected that he was having an affair with her young Russian emigre companion, [[Lydia Delectorskaya]], ended their 41-year marriage in July 1939, dividing their possessions equally between them. Delectorskaya attempted suicide by shooting herself in the chest; remarkably, she survived with no serious after-effects, and returned to Matisse and worked with him for the rest of his life, running his household, paying the bills, typing his correspondence, keeping meticulous records, assisting in the studio, and coordinating his business affairs.<ref>{{cite web|url=http://www.henri-matisse.net/biography.html|title=Biography of Henri Matisse|access-date=26 October 2015|archive-date=12 July 2016|url-status=usurped|archive-url=https://web.archive.org/web/20160712053009/http://www.henri-matisse.net/biography.html}}</ref>

Matisse was visiting Paris when [[the Nazis invaded France]] in June 1940, but managed to make his way back to Nice. His son, Pierre, by then a gallery owner in New York, begged him to flee while he could. Matisse was about to depart for Brazil to escape the occupation of France but changed his mind and remained in Nice, in [[Vichy France]]. In September 1940, he wrote Pierre: "It seemed to me as if I would be deserting. If everyone who has any value leaves France, what remains of France?" Although he was never a member of the resistance, it became a point of pride to the occupied French that one of their most acclaimed artists chose to stay.<ref>{{Cite web|last=Kramer|first=Hilton|date=March 1992|title=Art & politics in the Vichy period|url=https://newcriterion.com/issues/1992/3/art-politics-in-the-vichy-period|access-date=2021-11-03|website=newcriterion.com|language=en}}</ref>

While the Nazis occupied France from 1940 to 1944, they were more lenient in their attacks on "degenerate art" in Paris than they were in the German-speaking nations under their military dictatorship. Matisse was allowed to exhibit, along with other former Fauves and Cubists whom Hitler had initially claimed to despise, although without any Jewish artists, all of whose works had been purged from all French museums and galleries; any French artists exhibiting in France had to sign an oath assuring their "Aryan" status, including Matisse.<ref>{{cite book |last=Pryce-Jones |first=David |date=1981 |title=Paris in the Third Reich: A History of the German Occupation, 1940–1944 |publisher=Holt, Rinehart & Winston |page=220 }}</ref> He also worked as a graphic artist and produced black-and-white illustrations for several books and over one hundred original lithographs at the [[Mourlot Studios]] in Paris.{{citation needed|date=November 2024}}

In 1941, Matisse was diagnosed with [[duodenal cancer]]. The surgery, while successful, resulted in serious complications from which he nearly died.<ref>Daniels, Patricia. "Matisse: A biography".</ref> Being bedridden for three months resulted in his developing a new art form using paper and scissors.<ref>{{Citation |last=Lacayo |first=Richard |title=The Paper Chase. At MOMA, a dazzling display of Matisse's blissful "Cut-Outs" |date=2014-11-03 |url=http://web.b.ebscohost.com/ehost/pdfviewer/pdfviewer?sid=b7042fdd-9be3-4b29-a6ee-e74ae11a90ed%40sessionmgr113&vid=10&hid=125 |access-date=2015-04-09 }}</ref>

That same year, a nursing student named Monique Bourgeois responded to an advertisement placed by Matisse for a nurse. A platonic friendship developed between Matisse and Bourgeois. He discovered that she was an amateur artist and taught her about perspective. After Bourgeois left the position to join a convent in 1944, Matisse sometimes contacted her to request that she model for him. Bourgeois became a [[Dominican Order|Dominican]] nun in 1946, and Matisse painted a chapel in Vence, a small town he moved to in 1943, in her honor.{{citation needed|date=November 2024}}

Matisse remained, for the most part, isolated in southern France throughout the war, but his family was intimately involved with the French resistance. His son Pierre, the art dealer in New York, helped the Jewish and anti-Nazi French artists he represented to escape occupied France and enter the United States. In 1942, Pierre held an exhibition in New York, "[[Artists in Exile]]", which was to become legendary. Matisse's estranged wife, Amélie, was a typist for the French Underground and jailed for six months. Matisse was shocked when he heard that his daughter Marguerite, who had been active in the [[Résistance]] during the war, was tortured (almost to death) by the Gestapo in a Rennes prison and sentenced to the [[Ravensbrück concentration camp]] in Germany.<ref name=kuester/> Marguerite managed to escape from the train to Ravensbrück, which was halted during an Allied air raid; she survived in the woods in the chaos of the closing days of the war until rescued by fellow resisters.<ref>Heftrig, Ruth; Olaf Peters; Barbara Maria Schellewald [editors] (2008), ''Kunstgeschichte im "Dritten Reich": Theorien, Methoden, Praktiken'', Akademie Verlag, p. 429; Spurling, Hilary, ''Matisse the Master: A Life of Henri Matisse, the Conquest of Colour, 1909–1954'', p.424.</ref> Matisse's student [[Rudolf Levy]] was killed in the [[Auschwitz concentration camp]] in 1944.<ref name="Gilbert02">{{cite book|last=Gilbert|first=Martin|author-link=Martin Gilbert|title=The Routledge Atlas of the Holocaust|url=https://books.google.com/books?id=pYs5OSnsrHwC&q=The+Routledge+atlas+of+the+Holocaust|year=2002|publisher=[[Psychology Press]]|isbn=978-0-415-28145-4|page=10}}</ref><ref name="Ruhrberg">{{cite book|last=Ruhrberg|first=Karl|title=Twentieth Century art: Painting and Sculpture in the Ludwig Museum|url=https://books.google.com/books?id=VqRPAAAAMAAJ&q=%22rudolf+levy%22+|year=1986|publisher=[[RCS MediaGroup|Rizzoli]]|isbn=978-0-8478-0755-0|page=55}}</ref>

==Final years==
===Cut-outs===
{{See also|Jazz (Henri Matisse)}}
[[File:Utställningsaffisch Henri Matisse "Papiers decoupés", 1953 - SLM27767.tif|thumb|Poster for a Matisse exhibition in Paris 1953, showing a cut-out signed 1952.]]
Diagnosed with abdominal cancer in 1941, Matisse underwent surgery that left him reliant on a wheelchair and often bed bound. Painting and sculpture became physical challenges, so with the help of his assistants, he began creating cut paper collages, or [[decoupage]]. He cut sheets of paper, pre-painted with [[gouache]] by his assistants, into shapes of varying colours and sizes, and arranged them to form lively compositions. The result was a distinct and dimensional complexity—an art form that was not quite painting, but not quite sculpture.<ref>{{Citation | last =Cotter | first =Holland| title =Wisps From an Old Man's Dreams 'Henri Matisse: The Cut-Outs,' a Victory Lap at MoMA
 | newspaper =New York Times| date =9 October 2014
| url =https://www.nytimes.com/2014/10/10/arts/design/henri-matisse-the-cut-outs-a-victory-lap-at-moma.html| access-date =17 February 2015}}</ref><ref name="The Cut-outs">{{Citation| last =MoMA | title =Henri Matisse: The Cut-Outs| year = 2014| url =http://www.moma.org/visit/calendar/exhibitions/1469| access-date =19 February 2015}}</ref> His initial pieces were modest in size, but he eventually developed murals and room-sized works. He referred to his final years as his second life, because while his mobility was limited, he could wander through gardens in the form of his cut-outs.<ref>{{Cite journal|last=Carelli|first=Francesco|date=2014|title='Painting with scissors': Matisse and creativity in illness|journal=London Journal of Primary Care|volume=6|issue=4|page=93|doi=10.1080/17571472.2014.11493424|issn=1757-1472|pmc=4238723|pmid=25949724}}</ref><ref>{{Cite web|date=5 June 2017|title=5 Word-Famous Artists That Had Disabilities: Michelangelo, Goya, Klee...|url=https://www.passionatepeople.invacare.eu.com/5-world-famous-artists-disabilities/|access-date=20 November 2021|website=Passionate People by Invacare|language=en-US}}</ref>

Although the paper cut-out was Matisse's major medium in the final decade of his life, his first recorded use of the technique was in 1919 during the design of decor for the ''[[Le chant du rossignol]]'', an opera composed by [[Igor Stravinsky]].<ref name="The Cut-outs" /> [[Albert C. Barnes]] arranged for cardboard templates to be made of the unusual dimensions of the walls onto which Matisse, in his studio in Nice, fixed the composition of painted paper shapes. Another group of cut-outs were made between 1937 and 1938, while Matisse was working on the stage sets and costumes for [[Sergei Diaghilev]]'s [[Ballets Russes]]. However, it was only after his operation that, bedridden, Matisse began to develop the cut-out technique as its own form, rather than its prior utilitarian origin.<ref name="Elderfield 1978 8">{{cite book | last =Elderfield | first =John | title =The Cut-Outs of Henri Matisse | publisher =George Braziller | date =1978 | location =New York | pages =[https://archive.org/details/cutoutsofhenrima0000mati/page/8 8] | isbn =0-8076-0886-6 | url =https://archive.org/details/cutoutsofhenrima0000mati/page/8 }}</ref><ref>{{cite book| last =Matisse | first =Henri | title =Jazz | publisher =Prestel Publishing | date =2001 | location =New York | page =10 | isbn =3-7913-2392-X }}</ref>
[[File:Exhibition poster gouaches découpées by Henri Matisse 1952 - SLM 27769 (cropped).tif|thumb|Cut-out, 1952.]]
He moved to the hilltop of [[Vence|Vence, France]] in 1943, where he produced his first major cut-out project for his artist's book titled ''[[Jazz (Henri Matisse)|Jazz]]''. However, these cut-outs were conceived as designs for stencil prints to be looked at in the book, rather than as independent pictorial works. At this point, Matisse still thought of the cut-outs as separate from his principal art form. His new understanding of this medium unfolds with the 1946 introduction for ''Jazz''. After summarizing his career, Matisse refers to the possibilities the cut-out technique offers, insisting "An artist must never be a prisoner of himself, prisoner of a style, prisoner of a reputation, prisoner of success…"<ref name="Elderfield 1978 8" />

The number of independently conceived cut-outs steadily increased following ''Jazz'', and eventually led to the creation of mural-size works, such as ''Oceania the Sky'' and ''Oceania the Sea'' of 1946. Under Matisse's direction, Lydia Delectorskaya, his studio assistant, loosely pinned the silhouettes of birds, fish, and marine vegetation directly onto the walls of the room. The two Oceania pieces, his first cut-outs of this scale, evoked a trip to Tahiti he made years before.<ref>{{Citation
 | last =Cotter | first =Holland| title =Wisps From an Old Man's Dreams 'Henri Matisse: The Cut-Outs,' a Victory Lap at MoMA
 | newspaper =New York Times| date =9 October 2014
| url =https://www.nytimes.com/2014/10/10/arts/design/henri-matisse-the-cut-outs-a-victory-lap-at-moma.html| access-date =17 February 2015}}</ref>

In May 1954, his cut out ''The Sheaf'' was exhibited at the [[Salon de Mai]] and met with success.<ref>{{Cite book| title=Matisse a second life| publisher=Hazan| year=2005| page=242}}</ref> The artwork was a commission for American collectors Sidney and Frances Brody and the cut out was then adapted to a ceramic for their house in Los Angeles. It is now located in the [[Los Angeles County Museum of Art]].<ref>{{Cite web|title=Henri Matisse: La Gerbe|url=http://www.lacma.org/art/exhibition/henri-matisse-la-gerbe|access-date=26 September 2021|website=LACMA|language=en}}</ref>

===Chapel and museum===
In 1948, Matisse began to prepare designs for the [[Chapelle du Rosaire de Vence]], which allowed him to expand this technique within a truly decorative context. The experience of designing the chapel windows, [[chasubles]], and tabernacle door—all planned using the cut-out method—had the effect of consolidating the medium as his primary focus. Finishing his last painting in 1951 (and final sculpture the year before), Matisse utilized the paper cut-out as his sole medium for expression up until his death.<ref>{{cite book | last =Elderfield | first =John | title =The Cut-Outs of Henri Matisse | publisher =George Braziller | date =1978 | location =New York | pages =[https://archive.org/details/cutoutsofhenrima0000mati/page/9 9] | isbn =0-8076-0886-6 | url =https://archive.org/details/cutoutsofhenrima0000mati/page/9 }}</ref>

In 1952, Matisse established a museum dedicated to his work, the [[Matisse Museum (Le Cateau)|Matisse Museum in Le Cateau]], and this museum is now the third-largest collection of Matisse works in France.{{citation needed|date=November 2024}}

According to [[David Rockefeller]], Matisse's final work was the design for a [[stained-glass]] window installed at the [[Union Church of Pocantico Hills]] near the Rockefeller estate north of New York City: "It was his final artistic creation; the [[maquette]] was on the wall of his bedroom when he died in November of 1954." Installation was completed in 1956.<ref>{{cite web |first=David |last=Rockefeller |url=http://www.hudsonvalley.org/historic-sites/union-church-pocantico-hills |title=It is a pleasure to welcome you to the Union Church of Pocantico Hills |work=Union Church of Pocantico Hills |accessdate=2010-07-30 }}</ref>

=== Death ===
Matisse died of a heart attack at the age of 84 on November 3, 1954. He is buried in the cemetery of the Monastère Notre Dame de Cimiez, in the [[Cimiez]] neighbourhood of Nice.<ref>{{cite book
 | last =Schneider | first =Pierre | title =Matisse | publisher =George Braziller | date =1984 | location =New York | page =740 | isbn =0-500-09166-8 }}</ref>

==Legacy==
[[File:Tombe Henri Matisse Nice.jpg|thumb|left|Tombstone of Henri Matisse and his wife Amélie Noellie, cemetery of the Monastère Notre Dame de Cimiez]]
The first painting of Matisse acquired by a public collection was ''[[Still Life with Geraniums]]'' (1910), acquired in 1912 by the [[Pinakothek der Moderne]].<ref name="nyt-pin">Butler, Desmond. [https://query.nytimes.com/gst/fullpage.html?res=9B07E2D8133EF933A25752C1A9649C8B63 "Art/Architecture; A Home for the Modern In a Time-Bound City"], ''[[The New York Times]]'', 10 November 2002. Retrieved 25 December 2007.</ref>

Matisse's son [[Pierre Matisse]] (1900–1989) opened a modern art gallery in New York City during the 1930s. The Pierre Matisse Gallery, which was active from 1931 until 1989, represented and exhibited many European artists and a few Americans and Canadians in New York often for the first time. He exhibited [[Joan Miró]], [[Marc Chagall]], [[Alberto Giacometti]], [[Jean Dubuffet]], [[André Derain]], [[Yves Tanguy]], [[Le Corbusier]], [[Paul Delvaux]], [[Wifredo Lam]], [[Jean-Paul Riopelle]], [[Balthus]], [[Leonora Carrington]], [[Zao Wou Ki]], [[Sam Francis]], and [[Simon Hantaï]], sculptors [[Theodore Roszak (artist)|Theodore Roszak]], [[Raymond Mason (sculptor)|Raymond Mason]], and [[Reg Butler]], and several other important artists, including the work of Henri Matisse.<ref>[[John Russell (art critic)|Russell, John]] (1999). ''Matisse, Father & Son''. New York: Harry N. Abrams. pp.387–389 {{ISBN|0-8109-4378-6}}</ref><ref>[http://www.metmuseum.org/special/Matisse/collection_more.htm Metropolitan Museum exhibition of works from the Pierre Matisse Gallery, accessed online 20 June 2007] {{webarchive |url=https://web.archive.org/web/20090219222811/http://www.metmuseum.org/special/Matisse/collection_more.htm |date=19 February 2009 }}</ref>

The [[Musée Matisse (Nice)|Musée Matisse]] in Nice, a municipal museum, has one of the world's largest collections of Matisse's works, tracing his artistic beginnings and his evolution through to his last works. The museum, which opened in 1963, is located in the Villa des Arènes, a seventeenth-century [[villa]] in the neighbourhood of Cimiez.<ref>{{cite web|title=Musée Matisse de Nice Cimiez|url=http://www.nicetrotter.fr/art-musee-matisse-de-nice-cimiez-125.html|access-date=21 June 2011|publisher=Nice Trotter|language=French|archive-date=13 February 2013|archive-url=https://archive.today/20130213131836/http://www.nicetrotter.fr/art-musee-matisse-de-nice-cimiez-125.html}} on 22 March 2021</ref>

His ''[[The Plum Blossoms]]'' (1948) was purchased on 8 September 2005 for the [[Museum of Modern Art]] by [[Henry Kravis]] and the new president of the museum, [[Marie-Josée Drouin]]. Its estimated price was $25 million. Previously, it had not been seen by the public since 1970.<ref>[https://www.nytimes.com/2005/09/08/arts/design/08muse.html The Modern Acquires a 'Lost' Matisse], ''The New York Times'', 8 September 2005</ref>

A [[Matisse (crater)|crater]] on the planet Mercury was named Matisse in his honor in 1976.<ref>{{cite web |title=Matisse |url=http://planetarynames.wr.usgs.gov/Feature/3750 |access-date=22 August 2023 |work=Gazetteer of Planetary Nomenclature |publisher=[[IAU]]/[[NASA]]/[[USGS]]}}</ref>

In film, Matisse was portrayed by [[Joss Ackland]] in ''[[Surviving Picasso]]'' (1996), as well as by Yves-Antoine Spoto in ''[[Midnight in Paris]]'' (2011).

The [[Ray Bradbury]] short story "[[The Vintage Bradbury|The Watchful Poker Chip of H. Matisse]]" contains an allusion to the artist painting an eye on a poker chip for an American man to use as a monocle.

== Nazi-looted art ==

Numerous artworks by Matisse were seized by the Nazis or looted from Jewish collectors or changed hands in forced sales during the Nazi years. In the past twenty years, several artworks by Matisse have been restituted to the heirs of their pre-Third Reich owners, including ''[[Le Mur Rose]]'', from France's [[Centre Georges Pompidou|Pompidou Museum]] to the heirs of Henry Fuld,<ref>{{Cite web|title=Matisse looted by Nazis turned over to British charity|url=https://www.cbc.ca/news/entertainment/matisse-looted-by-nazis-turned-over-to-british-charity-1.769802}}</ref> "''Femme Assise",'' discovered in the stash of Hildebrand Gurlitt's son in Munich,<ref>{{Cite web|title=Matisse From Gurlitt Collection Is Returned to Jewish Art Dealer's Heirs|url=https://www.lootedart.com/news.php?r=R92DPX822241|access-date=30 April 2021|website=www.lootedart.com}}</ref> ''La vallée de la Stour,'' which had belonged to Anna Jaffé, found in the La Chaux-de-Fonds Museum<ref>{{Cite web|title=Une toile spoliée quitte la Chaux-de-Fonds après un long combat|url=https://www.lootedart.com/news.php?r=SO5VHN519011|url-status=live|archive-url=https://web.archive.org/web/20180501200851/https://www.lootedart.com/news.php?r=SO5VHN519011|archive-date=1 May 2018|access-date=30 April 2021|website=www.lootedart.com|publisher=Tribune de Genève}}</ref> and many others. The German Lost Art Foundation lists 38 artworks by Matisse in the Lost Art Internet Database.<ref>{{Cite web|title=Lost Art Internet Database - Advanced Search|url=https://www.lostart.de/Webs/EN/Datenbank/SucheDetail/SucheMeldungDetail.html?resourceId=7398&input_=7332&pageLocale=en&titelbesch=+e.g.+park&person=Matisse&objektart=-1&objektart.GROUP=1&mattech=+e.g.+coal+drawn&datierung=+e.g.+1910&provenienz=+Place,+name,+date&instsamml=+e.g.+national+museum&kennz=+e.g.+VIII-23a&id=+477958&pubop=eq&pubop.GROUP=1&pubyear=&pubyear.GROUP=1&type.GROUP=1&suche_typ=MeldungDetail&suche_typ.HASH=acccQ6-ph69OmvCeK107XaeYRXAUUAg=&suchen=Search|access-date=30 April 2021|website=www.lostart.de|archive-date=30 April 2021|archive-url=https://web.archive.org/web/20210430154900/https://www.lostart.de/Webs/EN/Datenbank/SucheDetail/SucheMeldungDetail.html?resourceId=7398&input_=7332&pageLocale=en&titelbesch=+e.g.+park&person=Matisse&objektart=-1&objektart.GROUP=1&mattech=+e.g.+coal+drawn&datierung=+e.g.+1910&provenienz=+Place,+name,+date&instsamml=+e.g.+national+museum&kennz=+e.g.+VIII-23a&id=+477958&pubop=eq&pubop.GROUP=1&pubyear=&pubyear.GROUP=1&type.GROUP=1&suche_typ=MeldungDetail&suche_typ.HASH=acccQ6-ph69OmvCeK107XaeYRXAUUAg=&suchen=Search}}</ref>

==Recent exhibitions==
''Henri Matisse: The Cut-Outs'' was exhibited at London's [[Tate Modern]], from April to September 2014.<ref>{{Citation | title = Henri Matisse: The Cut-Outs | publisher = Tate | url = http://www.tate.org.uk/whats-on/tate-modern/exhibition/henri-matisse-cut-outs | access-date = 28 February 2015 | archive-url = https://web.archive.org/web/20150310145042/http://www.tate.org.uk/whats-on/tate-modern/exhibition/henri-matisse-cut-outs | archive-date = 10 March 2015  }}</ref> The show was the largest and most extensive of the cut-outs ever mounted, including approximately 100 paper maquettes—borrowed from international public and private collections—as well as a selection of related drawings, prints, illustrated books, stained glass, and textiles.<ref>{{Citation| title = Henri Matisse: The Cut-Outs | publisher = Museum of Modern Art | url = https://www.moma.org/visit/calendar/exhibitions/1469 | access-date = 28 February 2015}}</ref> In total, the retrospective featured 130 works encompassing his practice from 1937 to 1954. The Tate Modern show was the first in its history to attract more than half a million people.<ref>{{Citation| title = Henri Matisse exhibition is Tate's most successful art show | publisher = BBC | date = 15 September 2014 | url = https://www.bbc.com/news/entertainment-arts-29204277  | access-date = 28 February 2015}}</ref>

The show was then moved to New York's [[Museum of Modern Art]], where it was on display from October 12, 2014, until February 10, 2015. The newly conserved cut-out, ''The Swimming Pool'', which had not been exhibited for more than 20 years, returned to the galleries as the centerpiece of the exhibition.<ref>{{Citation | title = Henri Matisse: The Cut-Outs | publisher = Museum of Modern Art | url = https://www.moma.org/visit/calendar/exhibitions/1469 | access-date = 28 February 2015}}</ref>

In 2018, Matisse's work was exhibited alongside that of [[Joan Miró]], [[Le Corbusier]], [[Raymond Hains]] and [[Éric Sandillon]] at the [[Musée des Arts Décoratifs et du Design|Museum of Decorative Arts and Design]] in [[Riga]], [[Latvia]].<ref name=":4">{{cite web |title=Colour of Gobelins. Contemporary Gobelins from the "Mobilier national" collection in France - Art Museums |url=https://www.lnmm.lv/en/museum-of-decorative-arts-and-design/exhibitions/colour-of-gobelins-contemporary-gobelins-from-the-mobilier-national-collection-in-france-68 |access-date=2024-01-06 |website=www.lnmm.lv |language=en}}<!-- auto-translated by Module:CS1 translator --></ref><ref name=":6">{{cite web |title="Gobelēnu krāsas" |url=http://laikraksts.com/raksti/raksts.php?KursRaksts=8032 |access-date=2024-01-06 |website=laikraksts.com |language=lv}}<!-- auto-translated by Module:CS1 translator --></ref><ref name=":7">{{cite web |last=Artdaily |title=Museum of Decorative Arts and Design in Riga looks into the textile collection of Mobilier national |url=https://artdaily.cc/news/105664/Museum-of-Decorative-Arts-and-Design-in-Riga-looks-into-the-textile-collection-of-Mobilier-national- |access-date=2024-01-06 |website=artdaily.cc |language=English}}<!-- auto-translated by Module:CS1 translator --></ref><ref name=":8">{{cite web |date=2024-06-01 |title=В Риге проходит выставка французских гобеленов - Культура, искусство - Latvijas reitingi |url=https://reitingi.lv/ru/news/kultura/98672-v-rige-prohodit-vistavka-francuzskih-gobelenov.html |access-date=2024-01-06 |website=reitingi.lv |language=ru}}<!-- auto-translated by Module:CS1 translator --></ref> This exhibition, titled "''Colour of Gobelins: Contemporary Gobelins from the 'Mobilier national' collection in France''," took place during the sixth edition of the Riga Textile Art.<ref name=":4" /><ref name=":6" /><ref name=":7" /><ref name=":8" />

From 1 May to 10 September 2022, the Museum of Modern Art exhibited Matisse's painting ''[[The Red Studio]]'', along with [https://www.moma.org/calendar/exhibitions/5344 "paintings and drawings closely related to ''The Red Studio''"].

==Partial list of works==
{{Main|List of works by Henri Matisse}}

=== Paintings ===
{{Div col|colwidth=22em}}
* ''[[Woman Reading]]'' (1894), [[Musée National d'Art Moderne]] Paris
* ''[[Le Mur Rose]]'' (1898), Musée National d'Art Moderne
* ''Canal du Midi'' (1898), Thyssen-Bornemisza Museum
* ''[[Notre-Dame, une fin d'après-midi]]'' (1902), [[Albright-Knox Art Gallery]], [[Buffalo, New York]]
* ''[[Luxe, Calme, et Volupté]]'' (1904), Musée National d'Art Moderne
* ''[[Green Stripe]]'' (1905)
* ''[[The Open Window (Matisse)|The Open Window]]'' (1905)
* ''[[Woman with a Hat]]'' (1905)
* ''[[Les toits de Collioure]]'' (1905)
* ''[[Landscape at Collioure]]'' (1905)
* ''[[Le bonheur de vivre]]'' (1906)
* ''[[The Young Sailor II]]'' (1906)
* ''[[Self-Portrait in a Striped T-shirt]]'' (1906)
* ''[[Madras Rouge]]'' (1907)
* ''[[Blue Nude (Souvenir de Biskra)|Blue Nude]]'' (1907), [[Baltimore Museum of Art]]
* ''[[The Dessert: Harmony in Red (The Red Room)]]'' (1908)
* ''[[Bathers with a Turtle]]'' (1908), [[Saint Louis Art Museum]], [[Missouri]]
* ''[[The Dance (painting)|La Danse]]'' (1909)
* ''[[Still Life with Geraniums]]'' (1910)
* ''[[L'Atelier Rouge]]'' (1911)
* ''[[The Conversation (painting)|The Conversation]]'' (1908–1912)
* ''[[Zorah on the Terrace]]'' (1912)
* ''[[Goldfish (Matisse)|Goldfish]]'' (1912)
* ''[[Le Rifain assis]]'' (1912)
* ''[[Window at Tangier]]'' (1912)
* ''[[Le rideau jaune]] (the yellow curtain)'' (1915)
* ''The Window'' (1916), [[Detroit Institute of Arts]], [[Michigan]]
* ''[[The Painter and His Model]]'' (1916–17)
* ''The Windshield, On the Road to Villacoublay'' (1917), [[Cleveland Museum of Art]]
* ''La leçon de musique'' (1917)
* ''Interior A Nice'' (1920)
* ''Festival of Flowers, Nice'' (1923), [[Cleveland Museum of Art]]
* ''[[Odalisque with Raised Arms]]'' (1923), [[National Gallery of Art]], Washington, D.C.
* ''[[Yellow Odalisque]]'' (1926)
* ''[[The Dance II]]'' (1932), [[triptych]] [[mural]] (45&nbsp;ft by 15&nbsp;ft) in the [[Barnes Foundation of Philadelphia]]
* ''[[Robe violette et Anémones]]'' (1937)
* ''[[Woman in a Purple Coat]]'' (1937)
* ''Le Rêve de 1940'' ''(the dream of 1940)'' (1940)
* ''[[La Blouse Roumaine]]'' (1940)
* ''Interior with an Etruscan Vase'' (1940), [[Cleveland Museum of Art]]
* ''[[Le Lanceur De Couteaux]]'' (1943)
* ''[[Annelies, White Tulips and Anemones]]'' (1944), [[Honolulu Museum of Art]]
* ''[[L'Asie]]'' (1946)
* ''[[Deux fillettes, fond jaune et rouge]]'' (1947)
* ''[[Jazz (Henri Matisse)|Jazz]]'' (1947)
* ''[[The Plum Blossoms]]'' (1948)
* [[Chapelle du Saint-Marie du Rosaire]] (1948–1951)
* ''[[Beasts of the Sea]]'' (1950)
* ''[[The Sorrows of the King]]'' (1952)
* ''[[Black Leaf on Green Background]]'' (1952)
* ''[[La Négresse]]'' (1952)
* ''[[Blue Nude II]]'' (1952)
* ''[[The Snail]]'' (1953)
* ''[[Le Bateau]]'' (1954) This [[gouache]] created a minor stir when the [[MoMA]] mistakenly [[upside-down painting|displayed it upside-down]] for 47 days in 1961.<ref>Nan Robertson. "Modern Museum is Startled by Matisse Picture" ''[[New York Times]]'', 5 December 1961.</ref>
{{div col end}}

=== Illustrations ===
* [[Jean Cocteau]], Bertrand Guégan (1892–1943); ''L'almanach de Cocagne pour l'an 1920–1922, Dédié aux vrais Gourmands Et aux Francs Buveurs''<ref>[https://www.worldcat.org/oclc/799721540 Notice ''WorldCat'']; [https://web.archive.org/web/20250120162915/https://www.sudoc.abes.fr/DB=2.1/SRCH?IKT=12&TRM=121889386&COOKIE=U10178,Klecteurweb,D2.1,E7d5bdaf4-147,I250,B341720009+,SY,A%5C9008+1,,J,H2-26,,29,,34,,39,,44,,49-50,,53-78,,80-87,NLECTEUR+PSI,R90.154.204.79,FN sudoc]; [http://catalogue.bnf.fr/ark:/12148/cb326866411 BnF] {{Webarchive|url=https://web.archive.org/web/20160603013508/http://catalogue.bnf.fr/ark:/12148/cb326866411 |date=3 June 2016 }}. Engraved on wood and unpublished drawings of: Matisse, [[Jean Marchand (painter)|J. Marchand]], [[Raoul Dufy|R. Dufy]], Sonia Lewitska, [[André Dunoyer de Segonzac|de Segonzac]], [[Jean Émile Laboureur]], [[Othon Friesz|Friesz]], [[Albert Marquet|Marquet]], Pierre Laprade, [[Paul Signac|Signac]], Louis Latapie, [[Suzanne Valadon]], [[Henriette Tirman]] and others.</ref>

=== Writings ===
* ''Notes of a Painter'' ("Note d'un peintre") (1908)
* ''Painter's Notes on Drawing'' ("Notes d'un peintre sur son dessin") (1939)
* ''[[Jazz (Henri Matisse)|Jazz]]'' (1947)
* ''Matisse on Art'', collected by Jack D. Flam (1973)
* ''Chatting with Henri Matisse: The Lost 1941 Interview'' (2013)

==References==
===Notes===
{{Reflist}}

===Bibliography===
* {{cite book |last=Barr |first=Alfred H. Jr |author-link=Alfred H. Barr Jr. |title=Matisse: His Art and His Public |location=New York |publisher=The Museum of Modern Art |year=1951 |isbn=978-0-87070-469-7}}. {{Internet Archive|matissehisarthis0000barr|name=''Matisse, his art and his public''}}.
* {{cite book |editor-last1=Berggruen |editor-first1=Olivier  |editor-last2=Hollein |editor-first2=Max  |title=Henri Matisse: Drawing with Scissors: Masterpieces from the Late Years |publisher=Prestel Publishing |year=2006 |isbn=978-3-7913-3473-8}}
* {{cite book |last1=Celdran |first1=F. |last2=Vidal y Plana |first2=R.R.  |title=Triangle: Henri Matisse – Georgette Agutte – Marcel Sembat |location=Paris |publisher=Yvelinedition |year=2007 |isbn=978-2-84668-131-5}}
* {{cite book |last1=Cowart |first1=Jack |author-link1=Jack Cowart |last2=Fourcade |first2=Dominique  |title=Henri Matisse: The Early Years in Nice 1916–1930 |publisher=Henry N. Abrams, Inc. |year=1986 |isbn=978-0-8109-1442-1}}
* {{cite book |last=Escholier |first=Raymond |author-link=Raymond Escholier |title=Matisse. A Portrait of the Artist and the Man |location=London |publisher=Faber & Faber |year=1960}}
* {{cite book |last=Gowing |first=Lawrence |author-link=Lawrence Gowing |title=Matisse |location=New York |publisher=Oxford University Press |year=1979 |isbn=0-19-520157-4}}
* {{cite book |last1=Finsen |first1=Hanne |author-link1=Hanne Finsen |last2=Coquio |first2=Catherine |display-authors=etal |title=Matisse: A Second Life |publisher=Hazan |year=2005 |isbn=978-2-7541-0043-4}}
* {{cite journal |last=Lewis |first=David  |title=Matisse and Byzantium, or, Mechanization Takes Command |journal=[[Modernism/modernity]] |volume=16 |number=1 |url=http://muse.jhu.edu/journals/modernism-modernity/toc/mod.16.1.html |date=January 2009 |pages=51–59|doi=10.1353/mod.0.0047 |s2cid=144631296 }}
* {{cite book |last=Russell |first=John |author-link=John Russell (art critic) |title=Matisse, Father & Son |publisher=Harry N. Abrams |location=NYC |year=1999 |isbn=0-8109-4378-6}}
* {{cite book |last=Schneider |first=Pierre  |title=Matisse |location=New York |publisher=Rizzoli |year=1984 |isbn=0-8478-0546-8}}
* {{cite book |last=Spurling |first=Hilary |author-link=Hilary Spurling |title=The Unknown Matisse: A Life of Henri Matisse, Vol. 1, 1869–1908 |location=London |publisher=Hamish Hamilton Ltd |year=1998 |isbn=0-679-43428-3}}
* {{cite book |last=Spurling |first=Hilary  |title=Matisse the Master: A Life of Henri Matisse, Vol. 2, ''The Conquest of Colour'' 1909–1954 |location=London |publisher=Hamish Hamilton Ltd |year=2005 |isbn=0-241-13339-4}}
* {{cite book |last=Wright |first=Alastair  |title=Matisse and the Subject of Modernism |location=Princeton |publisher=Princeton University Press |year=2006 |isbn=0-691-11830-2}}

==Further reading==
*[[Olivier Berggruen|Berggruen, Olivier]] and [[Max Hollein]], eds., ''Henri Matisse: Drawing with Scissors: Masterpieces from the Late Years'', Prestel, 2006. {{ISBN|3791334735}}.
* Bois, Yve-Alain. ''Matisse in the Barnes Foundation'', Philadelphia: The Barnes Foundation; New York and London: Thames & Hudson, 2016.
* Kampis, Antal, ''Matisse'', Budapest, 1959.
* Marmer, Nancy, "Matisse and the Strategy of Decoration," ''Artforum'', March 1966, pp.&nbsp;28–33.
* [[Alastair Sooke|Sooke, Alastair]], ''Henry Matisse: A Second Life''. Penguin, 2014.
* Müller, Markus, ''Henri Matisse: The Great Masters of Art'', Hirmer Verlag GmbH, Munich 2017, ISBN 978-3-7774-2848-2.
*[[Denise Murrell|Murrell, Denise]], ''Posing Modernity: The Black Model from [[Édouard Manet|Manet]] and Matisse to Today''. New Haven and London: Yale University Press, 2018.

==External links==
{{Wikiquote}}
{{commons category}}
* [https://web.archive.org/web/20160617001410/http://www.thegreatcat.org/the-cat-in-art-and-photos-2/cats-in-art-20th-century/henri-matisse-1869-1954-french/ Matisse and his Cats]
* [https://web.archive.org/web/20120314095920/http://www.itnsource.com/compilation/S20100901/#25 Footage of Henri Matisse in Vence, France working on the New Chapel of Vence]
* {{usurped|1=[https://web.archive.org/web/20140326120442/http://www.henri-matisse.net/ Henri Matisse: Life and Work]}} 500 hi-res images
* {{MoMA artist|3832}}
* [http://www.musee-matisse-nice.org/ Musée Matisse Nice]
* [http://www.historia-del-arte-erotico.com/1903_matisse/home.htm The nude in Matisse]
* [http://www.architecturalrecord.com/articles/11445-the-wild-men-of-paris Gelett Burgess, "The Wild Men of Paris, Matisse, Picasso and Les Fauves", ''Architectural Record'', 1910]
*[http://gildedage.omeka.net/exhibits/show/highlights/matisse ''Documenting the Gilded Age: New York City Exhibitions at the Turn of the 20th Century''] {{Webarchive|url=https://web.archive.org/web/20150117212708/http://gildedage.omeka.net/exhibits/show/highlights/matisse |date=17 January 2015 }} A [[New York Art Resources Consortium]] project. Matisse exhibition catalog, and photoarchive file of ''Young Sailor II''.
* {{FrenchSculptureCensus}}
* [https://web.archive.org/web/20170615040949/http://www.barnesfoundation.org/collections Barnes Foundation, Philadelphia]

{{Matisse}}
{{Fauvism}}
{{Modernism}}
{{Authority control (arts)}}

{{DEFAULTSORT:Matisse, Henri}}
[[Category:Henri Matisse| ]]
[[Category:1869 births]]
[[Category:1954 deaths]]
[[Category:19th-century French painters]]
[[Category:19th-century French sculptors]]
[[Category:19th-century French male artists]]
[[Category:20th-century French painters]]
[[Category:20th-century French male artists]]
[[Category:20th-century French sculptors]]
[[Category:Académie Julian alumni]]
[[Category:Fauvism]]
[[Category:French atheists]]
[[Category:French collage artists]]
[[Category:French male painters]]
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[[Category:20th-century French printmakers]]
[[Category:Matisse family|Henri]]
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[[Category:French Post-impressionist painters]]
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