In 1911 Matisse created “The Red Studio,” a self-enclosed world in his studio, by showing 11 earlier works of art, without the presence of the artist.
The Ohio museum is planning to auction off three paintings by Cézanne, Renoir, and Matisse with the goal of “broadening the narrative of art history.”
Over 160 artworks, including rarely seen works on paper, illuminate Etta Cone’s vision and her role in creating the Baltimore Museum of Art’s mammoth Matisse collection.
MoMA captioned Henri Matisse’s “Dance (I)” with a line from Kim Kardashian’s highly criticized post about hosting a party on a private island during the pandemic.
An autumnal offering of Artemisia Gentileschi, Dorothea Tanning, Henri Matisse, and Guston galore, among much, much else.
For Matisse, decoration was never a secondary matter.
So ingrained is exploitation in our understanding of female sexuality within (and outside of) art history that incredibly basic readings recede into the background and are deemed somehow radical.
Simon Morley’s new book presents a seven-tiered analytical framework that aims to make even the most inscrutable works of modern art accessible.
The most interesting part of this excellent exhibition is its presentation of black modernists, for here we enter relatively unfamiliar territory.
Robert Bechtle’s photorealist pictures of suburban California resist exoticism as much as Delacroix’s paintings of Algerian harems.
Matisse in the Studio, at the Museum of Fine Arts, Boston, is the first exhibit to focus specifically on Matisse’s objects and how they influenced his art making.
At the core of this show is a conversation in paint about influence and individuality.