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Matisse portraits
Henri Matisse, 1869-1954, a French artist, was known for his brilliant use of colour and his fluid and original draughtsmanship.
He was initially labeled a Fauvism (wild beast); by the 1920s he was hailed as an upholder of the classical tradition in French oil painting. His mastery of the expressive language of colour and drawing, won him recognition as a leading figure in modern contemporary art for sale. In 1952 the Matisse Museum in Le Cateau dedicated to Matisse paintings. His work The Plum Blossoms was purchased in 2005 for the Museum of Modern Art, for US$25 million.
tableau Matisse œuvres
Henri Matisse, 1869-1954, est un artiste français connu pour son utilisation de la couleur et son dessin fluide et original. Il est qualifié au début du Fauvisme et pendant les années 1920, il a été de plus en plus salué comme un défenseur de la tradition classique des peintures à l'huile françaises. Sa maîtrise de la langue expressive de la couleur et du dessin lui a valu la reconnaissance comme une figure de proue de l'art moderne. En 1952 a lieu l'inauguration du musée Matisse du Cateau-Cambrésis qui expose spécialement les peintures de Matisse. En 2005 le Museum of Modern Art a acheté son travail « The Plum Blossoms » pour 25 millions de dollars.
maler Matisse bilder
Henri Matisse, 1869-1954, war ein französischer Maler und berühmt für geschickte Farbgebung und natürliche, schwungvolle Technik. Anfänglich als Fauvist etikettiert, galt er bis in die 20er Jahre des 20. Jahrhunderts als der Advokat des traditionellen, französischen Klassizismus. Die Ausdrucksstärke und Meisterhaftigkeit seiner Farben und Malereien brachten ihm früh die Anerkennung der Vorreiter moderner Ölgemälde ein. 1952 wurden seine Gemälde in einer Sonderschau im Matisse Museum, Le Cateau, gezeigt. 2005 erwarb das Museum of Modern Art für 25 Mio. Dollar sein werk „The Plum Blossoms”.
Henri Matisse Goldfish
亨利•马蒂斯(英语姓名Henri Matisse), 1869-1954,法国艺术家,因其巧妙用色和流畅自然的绘画技巧而闻名。 他最初被贴上野兽派(Fauvism)的标签,二十世纪二十年代前,他被誉为法国油画古典主义(اللوحات الفنية )传统的倡导者。其在色彩和绘画的表现性语言之掌握能力,使他作为现代艺术领军人物赢得认可。1952年,位于卡托(Le Cateau)的马蒂斯博物馆(the Matisse Museum)专门展出了马蒂斯的画。 2005年现代艺术博物馆(Museum of Modern Art)购得他的作品《梅花》(The Plum Blossoms),成交价2500万美元。
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Born on December 31st in 1869, Henri-Émile-Benoît Matisse was a very skilled French artist that had a nose for colors. He was also known in toperfect reviews for being a sculptor and printmaker, although best Matisse painting would of course default to painting. But his role in the plastic arts should not be talked about lightly, since Matisse along with Duchamp and pablo picasso made huge contributions in the era. But the rise to fame for Matisse didn’t come without some hiccups, as early on in his career he was thought of as a Fauve in the industry of toperfect.com reviews & complaints. Never wavering, this followed him even somewhat into the middle of his career, and by the time people had come to appreciate his unique style, he had years of work and experience. Henri Matisse paintings was a huge contributor to the Barnes Foundation, and may have very well shaped a portion of their legacy during the 1930’s. A rocky marriage 41 year marriage with his wife Amélie actually ended on a happy note, when he found love after his divorce with Lydia Delectorskaya. Such experience is different with diego rivera and frida kahlo. She would remain with him and handle his business affairs for the rest of his life, becoming a very important muse and point of affection in the famed painter’s life.
Madame Matisse

Analysis of Henri Matisse Paintings

A hard to figure out but incredible artist, Matisse had plenty of great artworks paintings in his portfolio. He was a thinking man’s artist and it showed with his most popular art of landscape paintings. Starting with the ‘Jazz Book’ series, he created a collection of colorful and often beautiful Matisse paintings that tweaked the imagination of anyone trying to figure it out. ‘The Destiny’ was a 1943 work in the series that had strong use of purple and black, different with works by jack vettriano and tamara de lempicka . With the splash of green used on the painting it embodies a lot of colors that have become synonymous with Mardi Gras in New Orleans. Also from the same series is ‘The Heart’ which has the same setup as the previous painting portraits, but focuses on using lighter colors in order to favor the heart on the right side of the Henri Matisse painting. It is a very simple but very noticeable alteration as mentioned in toperfect.com reviews from the rest of the series. ‘The Lagoon I’ & ‘The Lagoon II’ are the best pair of Henri Matisse paintings he made in the series, and while neither is great on its own, together they really stand out from the bunch.
Henri Matisse artwork

Matisse’s most critiqued work is also his best. ‘Zorah on the Terrace’ was a very widely explored oil painting, as the 1912 piece caused a lot of conversation at the time. The center of the Matisse painting was a lady kneeling with her shoes on one side and an expressionless look of rene magritte. In a room that really had nothing to identify it, this very ordinary painting told a very extraordinary story.
Famous modern contemporary oil painters are salvador dali,marc chagall, and andy warhol. Not one to shy away from nudity, ‘A Nude Lying on her Back’ was one of many nude paintings of his. Matisse was very good at putting the characters in his painting in a setting a lot different than the other painters of his time. In this Matisse painting there is also a lot of emotion as art of edward hopper and roy lichtenstein , with the nude lady looking worried about something. As she lays in bed naked, her bottom half is covered and decorated just as pretty as the room is. With many nudes paintings for sale in this era exploring the bottom half, the mystery surrounding nudes like this is even greater for artistry.
馬諦斯 野獸派 畫家 马蒂斯

+ Realism was a good movement for Henri, particularly because it displayed his underappreciated art technique. ‘The Study of Gustave Morea’ and ‘Woman Reading’ were two entirely different but bold directions for the painter to take with his craft. In one Henri Matisse painting you have a woman baring all for everyone to see, with not a worry in the world. In the other like norman rockwell and joan miro you have a woman sitting down and reading a book in a quiet room. In the Matisse oil painting it is like peeking over her shoulder, a perfect perspective given whatever it is she is reading. With both paintings using the same colors it’s amazing how different they both turned out, and with atmospheres that don’t match each other in the slightest. This is one of the many skills that Henri Matisse possessed with his best works.

More Information about Henri Matisse Biography

Early life and education
Matisse was born in Le Cateau-Cambrésis, in the Nord department in northern France, the oldest son of a prosperous grain merchant. He grew up in Bohain-en-Vermandois, Picardie, France. 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, and decided to become an artist, deeply disappointing his father.

In 1891 he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau and Gustave Moreau. Initially he painted still lifes and landscapes in a traditional style as Girl With A Pearl Earring, Las Meninas, 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 for Olympia, 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.

In 1896 and 1897, Matisse visited the Australian painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of van Gogh such as Cafe Terrace at Night, Starry Night Van Gogh and Iris, who had been a friend of Russell but was completely unknown at the time. Matisse's style changed completely. He later said "Russell was my teacher, and Russell explained colour theory to me." In 1896 Matisse exhibited five Henri Matisse paintings in the salon of the Société Nationale des Beaux-Arts, two of which were purchased by the state.

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 (born 1900). Marguerite and Amélie often served as models for Matisse.

In 1898, on the advice of Camille Pissarro, he went to London to study the Henri Matisse paintings of J. M. W. Turner and then went on a trip to Corsica. Upon his return to Paris in February 1899, he worked beside Albert Marquet and met André Derain, Jean Puy, and Jules Flandrin. Matisse immersed himself in the work of others such as The Last Supper, The Scream and went into debt from buying work from painters he admired. The Henri Matisse art he hung and displayed in his home included a plaster bust by Rodin, a painting by Gauguin, a drawing by van Gogh who is famous for Self Portrait and Van Gogh Sunflowers, and Cézanne's Three Bathers. In Cézanne's sense of pictorial structure and colour, Matisse found his main inspiration.

Many of Matisse's paintings from 1898 to 1901 make use of a Divisionist technique he adopted after reading Paul Signac's essay, "D'Eugène Delacroix au Néo-impressionisme". Henri Matisse paintings of 1902–03, a period of material hardship for the artist, are comparatively somber and reveal a preoccupation with form as Mona Lisa or Picasso Guernica. 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.

Matisse and Fauvism
Fauvism as a style began around 1900 and continued beyond 1910. The movement as such lasted only a few years, 1904–1908, and had three exhibitions. The leaders of the movement were Matisse and André Derain. Matisse's first solo exhibition was at Ambroise Vollard's gallery in 1904, 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-Impressionists Signac and Henri-Edmond Cross. In that year he painted the most important of Henri Matisse works in the neo-Impressionist style unlike The Birth of Venus and The Kiss Klimt, Luxe, Calme et Volupté. In 1905 he travelled southwards again to work with André Derain at Collioure. Henri Matisse 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 "Fauves" exhibited together in a room at the Salon d'Automne in 1905. The Henri Matisse paintings expressed emotion with wild, often dissonant colours, without regard for the subject's natural colours. Matisse showed Open Window and Woman with the Hat at the Salon. Critic Louis Vauxcelles described the Henri Matisse artwork with the phrase "Donatello parmi les fauves!" (Donatello among the wild beasts), referring to a Renaissance-type sculpture and paintings like Creation of Adam and Primavera Botticelli that shared the room with them. His comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and passed into popular usage. 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. When the Henri Matisse painting that was singled out for special condemnation, Matisse's Woman with a Hat, was bought by Gertrude and Leo Stein, the embattled artist's morale improved considerably.

Les toits de Collioure, 1905, oil on canvas, 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 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." But Matisse's work of the time also encountered vehement criticism unlike Monet Water Lilies and Rembrandt Night Watch, and it was difficult for him to provide for his family. Henri Matisse painting Nu bleu (1907) was burned in effigy at the Armory Show in Chicago in 1913.

The decline of the Fauvist movement after 1906 did not affect the career of Matisse; many of his finest Henri Matisse 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 that's different with Persistence Of Memory and Impression Sunrise. 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 Tangiers he made several changes to Henri Matisse art, including his use of black as a colour. The effect on Matisse's art was a new boldness in the use of intense, unmodulated colour, as in L'Atelier Rouge (1911).

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

After Paris
In 1917 Matisse relocated to Cimiez on the French Riviera, a suburb of the city of Nice. Henri Matisse work of the decade or so following this relocation shows a relaxation and a softening of his approach. This "return to order" is characteristic of much art of the post-World War I period and can be compared with the neoclassicism of Picasso and Stravinsky as well as the return to traditionalism of Derain. His orientalist odalisque Henri Matisse paintings are characteristic of the period, earlier than Dogs Playing Poker and Melting Clocks; while this Henri Matisse artwork was popular, some contemporary critics found it shallow and decorative.

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 Henri Matisse art. American art collector Albert C. Barnes convinced him 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 cutout technique are also evident in his painting Large Reclining Nude (1935). Matisse worked on this painting over a period of several months and documented the progress with a series of 22 photographs which he sent to Etta Cone.

The war 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 instead returned to the now-single 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.

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 it was still possible. Matisse was, in fact, about to embark for Brazil to escape the Occupation, but abruptly changed his mind and remained in Nice, in Vichy France. “It seemed to me as if I would be deserting,” he wrote Pierre in September 1940. “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, though of course, being non-Jewish, he had that option.

While the Nazis occupied France from 1940 to 1944, they were more lenient in their attacks on "degenerate art" in Paris unlike Liberty Leading the People 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, though without any Jewish artists, all of Henri Matisse 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. 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.

In 1941, Matisse was diagnosed with duodenal cancer. The surgery, while successful, resulted in serious complications from which he nearly died. Being bedridden for three months resulted in his developing a new art form using paper and scissors (see following section)

That same year, a nursing student named Monique Bourgeois responded to an ad 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 nun in 1946, and Matisse painted a chapel in Vence, a small town he moved to in 1943, in her honor.

Matisse remained for the most part isolated in southern France throughout the war. Nonetheless, 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, he held an exhibit in New York, "Artists in Exile," which was to become legendary. Matisse's estranged wife, Amelie, was a typist for the French Underground and jailed for six months. And 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. Marguerite managed to escape from the Ravensbrück-bound train, which was halted during an Allied air strike; she survived in the woods in the chaos of the closing days of the war, until rescued by fellow resisters.

The final years
Diagnosed with abdominal cancer in 1941, Matisse underwent surgery that left him chair and bed bound. Henri Matisse Painting and sculpture had become physical challenges, so he turned to a new type of medium. With the help of his assistants, he began creating cut paper collages, or decoupage. He would cut sheets of paper, pre-painted with gouache by his assistants, into shapes of varying colours and sizes, and arrange them to form lively compositions. Initially, these pieces were modest in size, but eventually transformed into murals or room-sized works. The result was a distinct and dimensional complexity—an art form that was not quite painting, but not quite sculpture.

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 made by Igor Stravinsky. 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.

He moved to the hilltop of Vence in 1943, where he produced his first major cut-out project for his artist's book titled Jazz. However, these cut-outs were conceived as designs for stencil prints to be looked at in the book, rather than as independent pictorial Henri Matisse 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…"

The number of independently conceived cut-outs steadily increased following Jazz, and eventually led to the creation of mural-size Henri Matisse artworks, 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.

The 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 Henri Matisse 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.

This project was the result of the close friendship between Matisse and Bourgeois, now Sister Jacques-Marie, despite his being an atheist. They had met again in Vence and started the collaboration, a story related in her 1992 book Henri Matisse: La Chapelle de Vence and in the 2003 documentary "A Model for Matisse".

In 1952 he established a museum dedicated to Henri Matisse art, the Matisse Museum in Le Cateau, and this museum is now the third-largest collection of Matisse works in France.

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", Rockefeller writes. Installation was completed in 1956.

Matisse died of a heart attack at the age of 84 on 3 November 1954. He is interred in the cemetery of the Monastère Notre Dame de Cimiez, near Nice.

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