Matisse Exhibition UCLA 1966 observations

Updated: May 20, 2020

Article in The Los Angeles Times 23 Jan 1966

By Henry J. Seldis (edited)

Review of Matisse Art Exhibition at UCLA 1966

Matisse's colour is so dazzling that it can become blinding to his forcefulness as a painter. Henri Matisse was one of the significant colourists of his time. It also makes it possible then to understand that for him; his rhythmic line was equally important in his search for form and structure. It was the search that eventually brought him to the absolute purity and hard-won simplicity of his designs for Dominican Chapel in Vence.

Mattise Dominican Chapel in Vence Spain
Mattise Dominican Chapel in Vence France

It is useful to remember that to Matisse, and many other great painters, black and white were also important colours in their palette. Matisse's conversion to the use of arbitrary rather than vivid colour had to do with his rhythmic and dynamic form. He emphasised structure that is reflected in his graphic and plastic work.

Matisse sought in his art to express the sum total of all his feelings and perceptions. He presents us with an inventive equivalent for the emotional fluctuations stirred within him by his extraordinarily sensitive and intelligent responses to life, especially in its most sensual aspects.

Bowl of Apple on Table by Matisse
Bowl of Apple on Table by Matisse

"I have always considered drawing not as an exercise of particular dexterity but as above all, a means of expressing intimate feelings and moods, means simplified to greater simplicity and spontaneity of expression, which should speak without heaviness directly to the mind of the spectator," Matisse wrote in 1939.

The spontaneity and even at times, the changeability of Matisse's drawings were a result of life-long self-discipline. Which eventually enabled him to hide the enormous creative struggles that went into his work under the effortless appearance of the finished work.

Emotions Deeply Felt

Line and colour alike served Matisse as signs. They became the equivalents of his acute perceptions and deeply felt emotions. With the years the artist became more and more at one with nature, in almost an eastern sense; however, his aim was never to describe it. Much as he admired Cezzane, he did not share the artist's obsession with perceptual matters. Though he never relinquished direct observation as his point of departure, the end result of all his looking was always something no one had seen before.

Matisse was one of the greatest decorative artists. In his seriousness of pursuing the decorative, he was related to the Venetians. Not only his preference for arbitrary colour and undulating lines caused Matisse to become one of the most fabulous decorators of all time. He also insisted on developing a language of signs that might express the emotional equivalents of his visual experiences without attempting at all to reproduce these experiences himself.

Not all artists are the best commentators on their own work. But Matisse with his cartesian logic and intuition was able to verbalise his plastic search better than any of those who have critiqued his extensive body of work.

Matisse after he took up the pursuit of art at the age of 20. At the height of his fame, and accomplishment Matisse talked to his friend and poet, Aragon, about the drawings he was making. Although the human figure is at the centre of his life's work, the models which became indispensable to him could also be a chair, an apple, a spray of flowers, a vase or a cup. Throughout his career, he continued to work from the model until he had absorbed enough to improvise.