Henri Matisse (1869 – 1954)
Major French artist of the 20th century.
Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human.
A work of art must carry within itself its complete significance and impose that upon the beholder before he recognises the subject matter.
What I dream of is an art of balance, of purity and serenity, devoid of troubling or disturbing subject matter, an art which could be for every mental worker, for the businessman was well as the man of letters, for example, a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue.
Do I believe in God? Yes, when I am working. When I am submissive and modest, I feel myself to be greatly helped by someone who causes me to do things that exceed my capabilities. However, I cannot acknowledge him because it is as if I were to find myself before a conjuror whose sleight of hand eludes me.
A picture must possess a real power to generate light ... for a long time now I've been conscious of expressing myself through light or rather in light.
We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable.
The artist begins with a vision — a creative operation requiring effort. Creativity takes courage.
My choice of colours does not rest on any scientific theory:it is based on observation,on sensitivity,on felt experience.
I simply put down colours which render my sensation.
Drawing is like making an expressive gesture with the advantage of permanence.
My verse forms are relatively traditional (traditions alter). In general they have moved away from strict classical patterns in the direction of greater freedom — as is usual with most artists learning a trade. It takes courage, however, to leave all props behind, to cast oneself, like Matisse, upon pure space. I still await that confidence.
There is nothing more difficult for a truly creative painter than to paint a rose, because before he can do so he has first to forget all the roses that were ever painted.
The vertical is in my spirit. It helps me to define precisely the direction of lines, and in quick sketches I never indicate a curve, that of a branch in landscape for example, without being aware of its relationship to the vertical.
My curves are not mad.