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The last works of Henri Matisse : largecut gouachesBy Monroe Wheeler. The Museum of Modern Art,New York, in collaboration with the Art Institute ofChicago and the San Francisco Museum of ArtAuthorMuseum of Modern Art (New York, N.Y.)Date1961PublisherThe Museum of Modern Art: Distributedby DoubledayExhibition URLwww.moma.org/calendar/exhibitions/3425The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—isavailable online. It includes exhibition catalogues,primary documents, installation views, and anindex of participating artists.MoMA 2017 The Museum of Modern Art

frontispiece:Matisse in his studio at the Regina,Nice-Cimiez.Winter 1952-53.Photo Helene Adant, Paris.

THE LAST WORKSOF HENRI MATISSELarge Cut GouachesBY MONROEWHEELER.IN COLLABORATIONTHE MUSEUM OF MODERNART, NEW YORKWITH THE ART INSTITUTE OF CHICAGOAND THE SAN FRANCISCO MUSEUM OF ARTDISTRIBUTED BY DOUBLEDAY AND COMPANY, INC., GARDEN CITY, NEW YORK

TRUSTEES OF THE MUSEUMMODERNWilliamOFTRUSTEES OF THE ART INSTITUTEARTOF CHICAGOA. M. Burden, Chairman of the Board;Henry Allen Moe, WilliamS. Paley, Vice-Chairmen; Mrs. John D. Rockefeller,3rd, President;James Thrall Soby, Ralph F. Colin, Vice-Presidents; AlfredH. Barr, Jr., Mrs. Robert WoodsJames W. Alsdorf, Edward H. Bennett, Jr., Cushman B. Bissell, WilliamB. Block, AveryMarshallMcCormickBrundage,Blair, LeighPercy B. Eckhart,Field, Jr., Everett D. Graff, Frank B.Hubachek,Homer J. Livingston,Earle Ludgin,Bliss, Gardner Cowles, *Mrs. W. Murray Crane,Samuel A. Marx, Brooks McCormick,Rene d'Harnoncourt,McCormick,Mrs. C. DouglasDillon,AndrewMcNallyFowlerIII, WilliamA.Mrs. Edsel B. Ford, *A. Conger Goodyear, *Mrs.McSwain, Edward Byron Smith, ArthurM.Simon Guggenheim,Frank H. Woods, George B. Young, Mrs. SuzetteMorton Zurcher.Walter Hochschild,Wallace K. Harrison, Mrs.*James W. Husted, Philip C.Johnson, Mrs. AlbertD. Lasker, Mrs. Henry R.Luce, Ranald H. Macdonald,Marx, Porter A. McCray,Mrs. Samuel A.HonoraryTrustees: Robert Allerton,Wood,Mrs. Tiffany Blake, Harold H. Swift, Russell TysonMrs. G. MaccullochMiller, Mrs. Bliss Parkinson, Mrs. Charles S. Payson, *Duncan Phillips, David Rockefeller, NelsonA. Rockefeller,Smith,Jr., Mrs.*Paul J. Sachs, James HopkinsDonaldTRUSTEES OF THE SAN FRANCISCOMUSEUM OF ARTB. Straus, G. DavidThompson, *Edward M. M. Warburg,Wheeler, John Hay WhitneyMonroeW. W. Crocker, Chairman of the Board; Jaquelin H. Hume, President;Walter*HonoraryTrustee for LifeHector Escobosa, Mrs.A. Haas, Vice-Presidents;Jacob GouldSchurman, 111,Secretary; MortimerFleishhacker,Jr., Treasurer; E. Morris Cox, Gardner A. Dailey,Mrs. Paul Eliel, Prentis Cobb Hale, Robert C.Harris, George W. Hellyer, Jr., Mrs. WellingtonLibrary of CongressCatalogue Card Number 61-18453S. Henderson, The Museum of Modern Art, 1961. 11 West 53 St.,N.Y. 19Edmund W. Nash, WilliamPotter Russell, Mrs. MadeleinePrinted in the U.S.A. by the John B. Watkins Co.,New YorkE. Schlesinger, Mrs. Jerd Sullivan, Brayton Wilbur, J. D. Zellerbach.Color plates printed in France by Mourlot Freres,ParisEx-officio:Haas, Jr.4Charles Kendrick,Moses Lasky,M. Roth, Mrs. HenryH. Russell, AlbertMrs. Brooks Walker,Mrs. Walter

ACKNOWLEDGMENTSOn behalf of the Trustees of The MuseumModernArt, The Art Institutethe San Francisco Museumexpress ourMargueriteparticularof Art, I wish togratitudeDuthuit-Matisseofof Chicago, andto Madameand Messrs. Jeand'ActionArtistique;Mr.EdouardJean Medecin,Deputy and Mayor of Nice; Mr.Jacques Thirion,Directorof the Museums ofthe City of Nice; Mr. E. Teriade;and Pierre Matisse for their generous assistanceDelectorskaya;withoutthe Musee des Arts Decoratifs,whichan Americanfather's last work wouldshowingof theirnot have been possible. Our sincere thanks and appreciationalso extendedto the followinggracious advice and cooperationarepersons whosegreatly facilitated our undertaking:Mr. Henri Seyrig, Director of the Museums ofNelsonA. Rockefeller;Douglas MacAgy,seum for ContemporaryAdant, who has providedSeitz; Mr. WilliamWoodruff;Mr.lot, and Mr. MauriceMr.BernardErlanger, DirectorDorival;of the AssociationPhilippeFrangaiseEXHIBITION DATES:The Museum of Modern Art, New York:Oct. 17- Dec. 3, 1961The Art Institute of Chicago:Jan. 10— Feb. 13, 1962San Francisco Museum of Art:March 12— April 22, 19625Paris; GovernorE. Beyeler;Mr.of The Dallas MuArts; Madame Heleneall the photographsexcept those on pages 8, 14, 16, 43; Mr. AlfredH. Barr, Jr.; Mr. Peter Selz; Mr. William C.Paris, and itsCurator,Mr.DirectorFrance; Mr. Jean Cassou, Chief Curator of theModerne,Miss LydiaMr. Francois Mathey, Curator ofMusee Nationald'ArtMorot-Sir,Cultural Counselor of the French Embassy; Mr.S. Lieberman;Mrs. Harry A.Miss Alicia Legg; Mr. Fernand Mour-Monroe Wheeler,Lefebvre-Foinet.Directorof the Exhibition

Bedroom of Matisse, 1951. On wall: designs for chasubles for the Vence Chapel. Abovethe fireplace:painting,6Picasso's Landscape, Vallauris , 1950. Beside the fireplace:Womanin Yellow Blouse , 1951. Photo Helene Adant.Matisse's last

THE LAST WORKS OF HENRI MATISSE LARGE CUT GOUACHESThe exhibitionretrospectivewhich this book accompanies might be called a sequel to the large Matissepresentedin 1951-1952, 1 when The Museum of Modern Art publishedonly a catalogue but Alfred H. Barr, Jr.'s monumentaland His Public. Matisse had already producedgouache compositions,and definitivenotstudy, Matisse: His Arta number of his importantcut-and-pastedwhich were exhibited at that time: Beasts of the Sea, The Thousandand One Nights , eight designs for stained-glass windows and a set of patterns for chasubles2for the Chapel of the Rosary of the DominicanNuns in Vence.this medium until his death in 1954, varying and developingBut Matisse went on withthe technique on a larger andlarger scale, imbuing it with a subtlety and depth of meaning which no one had foreseenwhen he began workingin this way. Therefore it has seemed imperative to exhibit this lastchapter of his lifework.Over and above our desire to make knownwork, these audacious final productionscertain early achievementsresourcefulnessand to his art as a whole.representation:bounded by a dark peremptoryHe was an artist of the greatestthe use of flat or cursorilymodeledcoloreffect, but to give a magical illusion of entire and rounded form, in true perof these cut gouachewith Eggplants in the Grenoblein tempera, a mediumwhichscreen, with stylizationscompositionsmuseum, painted in Collioureappears in thein 1911. Executedlike gouache lends itself to effects of flatness, it portraysa room not only carpeted but borderedthe picture;with reference toline or by a blank space on the canvas or the page, not forspective and in three dimensions.A very impressive prefigurationInteriorevery aspect of Matisse'ssignificancein his several media, and he had always shown a particular interest in, andmastery of, two-dimensionaldecorativein this countryhave a particularof a windowby large flowers, subdivided around an arabesqueand a mirrorand a fireplace,and pictures withinand in the center of all this, on a table with a leaf-patternedcloth,thevegetables which gave it its title. A Chinese proverb says that to dream of three eggplants'Co-Sponsors:Chicago;The Museumof Modern2 In 1953 and in 1955 The Museumand a sixth unfinished7Art,New York; The ClevelandMuseumof Art; The Art InstituteofSan Francisco Museum of Art.one.of ModernArt acquiredby purchase and gift five of these silk vestments

3JeanInterior with Eggplants. (1911). Tempera, 8234" x 96V&". Musee de Peintureet de Sculpture, Grenoble.is a sign of happiness. Matisse had not heard of this until 1952 when Jean Leymarie, thecuratorof the asureat having discovered, by chance or by instinct, this bit of ancient Chinese lore, and agreedthat in concept and idiom the Grenoblepicture was propheticof the art of his old age.Matisse's first known use of scissors was in 1931, at the age of sixty-two, when he undertook the importantdecorationsAs a means of experimentationfor Dr. Albert C. Barnes's gallery in Merion, Pennsylvania.in the placementof forms and in linear and voluminous3Leymarie, "Les grandes gouaches decoupees de Matisse a la Kunsthalle de Berne," Quadrum VII,Brussels,1959.8

relationships,he made and used movable paper cutouts. In subsequent years, in much thesame way, he designed covers for the periodical,his work, for the dust-wrapperVerve, for catalogues of exhibitionsfor tapestries, rugs and ceramics as well as the liturgicalmentioned,raimentand windowsand for the picture book, jazz, with a text in his own handwriting.Mr. Barr, "Unlikethe cubists who used scraps rescued from wastepaperdadaists who cut up old mail-orderbest commercialofof Alfred Barr's volume, for posters, ballet sets and costumes,aboveTo quotebaskets or thecatalogues, Matisse was not even satisfied with thecolored papers: he had his own papers painted with gouaches of his ownchoosing and then proceeded with his scissors" (Bibl. 1). In the case of Jazz, as specifiedby Matisse in his text, "the images in vivid and violent tones have resulted from crystallizationswritingof memoriesof the circus, popularwas to clarifythe reactionstales or travel";to these "chromaticand the purposeand rhythmicof hisimprovisations."(Cat. No. 36)Toward the end of his life, in ill health and unable to work at his easel, he made a virtueand a method of his infirmity;defiant of bodily weakness, he proceededseemingly small-scale mediumto monumentaldimensions:to extend thisThe SwimmingPool is overfifty feet in length.These final brilliantlypainted and cutout gouaches epitomizeMatisse's art in his mostexuberant and felicitous vein. Early and late, he clearly stated his principles and objectives.First and foremost he believed in indefatigableosity's sake, but to arrive at simplicitypreparationand forthrightnessand experiment,not for virtuin the end. "The performanceof the acrobat appears easy and relaxed," he said in an interview with Leon Degand, "butlet us not lose sight of the long preliminaryordeal which enables him to give this effect.It is the same in painting. With hard work, the mastery of one's medium should pass fromthe conscious to the subconscious;spontaneity.only then can one successfully give an impression of. An artist is an explorer.He has to begin by self-discoveryand by observation of his own procedure. After that he must not feel under any constraint. But, above all,he must never be too easily satisfied with what he has done."WhateverquintessentialMatisse's subjectmatter,representationaland the universal; he remindedproclaim:9Fig tree!".or symbolic,he aimed at theus that the great differences of form in thefoliage of a tree do not keep us from recognizingfig tree is identical(Bibl. 5)its commonquality;that "no leaf of awith any of its other leaves; each has a form of its own, but they all(Cat. No. 36)

When he came to the last cycle of his creative life, Matisse was aware of its being aculminationrather than a change. "There is no break between my painting and my cutouts.Only, with something more of the abstract and the absolute, I have arrived at a distillationof form. .Of this or that object which I used to present in all its complexityin space, Inow keep only the sign which suffices, necessary for its existence in its own form, for thecompositionas I conceive it." (Bibl. 11)In Matisse's view, art had but three aspects: color, not as a means of representationfor its own sake, to decorate and to express emotion;and three-dimensionalconstructedform inspired by sculpture.exact and unique draughtsmanship;"The paintingswith pure colors, proved to the next generationmight be descriptivebutof the impressionists,that these colors, while theyof particular objects or phenomena of nature, have also the inherentpower of affecting the feelings of those who look at them. . A blue, for instance, accompanied by the shimmer of its complementaries,acts upon the inner sensibilitysudden stroke of a gong. The same with red and yellow;like thethe artist must be able to strikethem when he needs to." (Bibl. 14)"Cuttingcoloredsimplification.modifyingpapers permitsme to draw in the color. For me it is a matter ofInstead of establishingthe other— I draw directlya contour,and then fillingit with color— the onein the color. . . . This guarantees a precise union ofthe two processess; they become one." (Bibl. 10)In these last works, having been a colorist all his life, Matisse still pits one vivid coloragainst another,withan unerringsense of beauty and youthfulvigor. Having been asculptor, he carves surface and space and attaches it with pins and paste. A draughtsmanabove all, he draws perhaps better than ever with the two matched blades of steel; bitingthe form as a wild beast might seize upon its prey; caressing the contour, though with hardmetal, as gently as a lover's hand; urging it along to its culminationin a recognizable image.The Creole Dancer (plate A) of June, 1950 seems to hark back to the fabrics andfashions of the twenties,workbackgroundwith featherlikeforms in green, blue and white(page 14) in the Copenhagenmuseum,also early in the series, relates to Matisse'srenderings of the female body in the forties, the body composedsunburnedflesh on a monumental18-19). Scheherazade,of a verticalstrip ofform of shadowy blue. That same year he undertookan immense and complex composition10on a patchof darker and .warmer colors. The famous standing figure of Zulmainspired by The Thousand and One Nights (pagesthe king's favorite who distractedhim from puttingher to death

by tellinghim stories night after night, "whentongue discreetly."of the composition.she saw the first light of dawn, held herMatisse tells us this in cutoutletters in the upper right-handIt consists of five aligned rectangles, semi-abstract,cornersurroundedbyleaf forms, some like hands, some like hearts.Another major composition, Sorrows of the King (plates F, G) two years later, derivesfrom the literature of the Near East. At about the same time he had consideredThe Song of Songs, but apparentlySolomon.whiteThe rhapsodicalthis king is David, the harpist, rather than his son,royal figure in threegreens, a guitar-formof orangewithhands playing above it; on the right, a large archaic harp, black and white withgolden strings; and in the nocturnalon the right, miscellaneousforE. Teriadeblue overhead, and in a bright space like a windowsmall yellow shapes suggestive of the harp music.In 1951, having terminatedwindows,the Vence chapel,andforTimeInc.,he producedpowerfultwo other stained-glasscompartmentalizedChinese Fish (plate K) one white and one gold in green water, withtile-likeillustratingdesigns:an ambianceofpatterns; and Nuit de Noel (plate J) with white stars, black stars, and one greatyellow star.The year 1952 was one of Matisse's most productiveperiods. He began with a great seriesof nudes, one evolving from the other as in musical counterpoint,with meaningfulsimilarities, and magical changes. In one called Venus (plate L) the female figure, simplifiedto an extreme degree, is nothingthe goddess half hiddenbut whitepaper betweenin a night of lapis. Anothertwo large pieces of blue;standing figure (plate H) is in fiveparts: two upraised arms, the head and torso in one piece, and two long and strong legsjoined with intervening white.There is a homogeneous group of seated nudes (pages 22-23; plate M) with one kneeup and one arm overhead, differentiatedwith a subtlety and virtuositywhich astound us;the same pose lovingly and tirelessly observed on successive days or from hour to hour.On one occasion he miscalculatedand completedthe amount of blue paper he was going to need,the legs with green paper, entitlingit Blue Nude with Green Stockings(page 25). The upper body of another seated nude, on bright yellow, The Frog (plate E)consists of three almostidenticalcirclesenclosedThere are also female acrobats, bent over backwardsin roughlyshaped uplifted(page 28); amphoraarms.bearers (page29; plate P); and a superb dancing or running figure, with streaming hair (plate I).In due course, he incorporated11these blue femalefiguresin an importantmural

t aB*13** t0 "i *r -f,V\mDesigns for Chasubles and Church Vestmentsfor the Vence Chapel, (c.1950).Gouache on cut-and-pasted paper(for execution in appliqued cloth).Musee Matisse, Nice-Cimiez, France.

MM—WH1s mZulma. 1950. Gouache andcrayon on cut-and-pastedpaper, 7'9% " x 52% " . StatensMuseum for Kunst, Copenhagen.14

design, Womenand Monkeys(pages 26-27) upon a strip of white with seven pomegranates, flanked by two sinuous anthropoids.for a wall ceramic, The Swimmingbut mounteddivingon a lightor floatingremarkeddolphinsbrownindolentlyexpanse of raw canvas, withon their backs, and sometimes,(Bibl. 9), rising out of the whitespringingThen the largest of all his designs, intendedPool (pages 32-33; plates B, C), also on a white strip,into the brownvariousformsleaping,as Jacques Lassaigne haswith the joyous vitalityoffrom the waves.In two compositionsof 1953 Matisse came closer to outrightabstractionthan in anyof his earlier work. The Snail (page 38) is an array of unequal rectangles, black, magenta,orange and yellow,turningon an axis of green against white.Souvenir of Oceania (plate D) is just draughtsmanship,An importantblack on whitepart ofsuggestiveofnudities. There is also a hinted body, white bounded by blue, as in Venus above-mentioned,and a mysteriousincompletesilhouetteand from the right by vigorouslyBy way of subject-mattercurving,of yellow;descendinghe often contentedseverely pruned vine of blue with(page 35); wildpoppiesand all this is assailed from aboverectangles.himself with leaves or flowers, a heavilyvariegatedfoliage(page 42); a bed of ivyin the midst of fruit (pages 36-37). Acanthuseslances of green and yellow thrusting(page 39) hasinto the air over a bank of disparate, loosely spacedvegetation.Throughoutthis last chapter of his life, as in all his previous work, Matisse delightedin the alternationin juxtaposed,betweenviolent,the mural decorationsthirty-threeboundedpurely linear representationepitomizesthis dual interest;feet wide, Large Decorationat eitherand the frankest pattern-makingalmost savage color. One of the largest and most resplendentside withuprightsa polyptycheleven feet high andwith Masks (pages 40-41; plates N, O); which isof blue, witha centralsectionflowers on white. The right and left areas are filled with a four-squarehued flowers and fruit, in the midst of whichblack and white.The visual imagery of the windowsofhang, moon-like,of huge bluepattern of many-two idealizedfaces inand the chasubles of the Vence chapel is alsomainly floral, vegetal and tropical— furthervariationson his long-chosenhalf-symbolicthemes.Matisse's last design, completedwas for a rose window15only a few days before his death on November 3, 1954,in the Union Church of PocanticoHills, New York (page 43) in

memory of Abby Aldrichthe supportRockefeller, a founder of The Museum of Modern Art. Recallinggiven him in his early years by four members of the Stein family of SanFrancisco, it is gratifyinghave been commissionedthat the final accomplishmentof his prodigiouscareer shouldby another American family whom he knew and admired.At first, because of the size and innate fragility of all these works, it seemed impossibleto exhibit them on this side of the Atlantic.But with the devoted and generous cooperationof the artist's daughter and sons, and of the Musee Nationalthe museums of Nice, the difficultiesDuring his lifetime,d'Art Modernein Paris andwere overcome.Matisse gave a number of his pictures to the city of Nice, and hiswife, after his death, expressed a desire to have her own collectionworks placed there in a museum. Their childrenmade available the principalof her husband'shaving agreed to this, the municipalityfloor of a chateau in the suburb of Cimiez,Roman arena and the famous grove of transplantedbetweentheancient olive trees, a few steps fromMatisse's residence and from his tomb. There, in due course, the Matisse Museum will beopened to the public.left: Study for the door of theTabernacle of the Chapelle duRosaire des Dominicaines de Vence,Alpes-Maritimes, France, (c. 1950).opposite: Beastsof the Sea.1950.Gouache on cut-and-pasted paper,9'7" x 60Va" . Private collection.16

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71 P Vw V ES *. m.tuTI* '-'I rVW"HThe Thousand and One Nights. 1950.Gouache on cut-and-pasted19paper,57" x M'bVz" . Private collection.(kW/j*'-J***

Vegetables. 1952. Gouacheon cut-and-pastedpaper,69" x 32V4". Private collection.

Snow Flowers. 1951. Gouacheon cut-and-pastedpaper,68" x 32". Private collection.

///21from left to right:Seated Blue Nude, No. 2. 1952.Gouache on cut-and-pasted45%"paper,x 35". Private collection.Seated Blue Nude, No. 3. 1952.Gouache on cut-and-pasted45%"paper,x 32". Private collection.Seated Blue Nude, No. 4. 1952.Gouache on cut-and-pasted40x 30%".paper,Private collection.

Blue Nude Skipping Rope. (1952).Gouache on cut-and-pastedpaper,57" x 38V2". Private collection.

Blue Nude with Green Stockings. (1952)Gouache on cut-and-pastedpaper,8'6V4 " x 66". Private collection.

xAWomen and Monkeys. (1952).Gouache on cut-and-pasted28" x 9'427paper,Private collection.

A".3Womanwith AmphoraPomegranates.and(1952).Gouache on cut-and-pastedpaper, 7'11V4" x 37Private collection.opposite:Acrobats.(1952). Gouache andcrayon on cut-and-pastedpaper, 7' x 6'9W.Private collection.*«#29

A"XBather in the Reeds. (1952). Gouache on cut-andpasted paper, 46V2" x B7opposite:. Private collection.Sailboat. (1952) Gouache on cut-and-pasted paper, 5614" x 44". Private collection.

A".The SwimmingPool. Designfor wall ceramic. (1952).9HBH1Gouache on cut-and-pastedpaper, V'hVi " x 53'1 13Private collection.

f.11v uoJa yx.Ivy in Flower. Design for a stained glass window.9'4" x 9'4". The Dallas Museumfor Contemporary1953. Gouache on cut-and-pastedpaper,Arts. Gift of the Albert and Mary LaskerFoundation.I35opposite: Nude with Oranges. (1953). Gouacheon cut-and-pasted paper, 60" x42". Private collection.

Wild Poppies. Design for a stained glass window.(1953). Gouache and crayon on cut-and-pasted31 V2" x 11'2%".37Private collection.paper,

A3The Snail. 1953. Gouache on cut-and-pastedopposite:paper, 9'4" x 9'5". Private collection.The Acanthuses. Design for wall ceramic. (1953). Gouache on cut-and-pasted paper. 10'2V "xGalerie E. Beyeler, Basel.

\lto/NN \\/ V.L" M ' UMN ' iA'* *i#r '—jitS gaw*/ —\VA /w\ Amm\VMa«fO A O »VA M &.4*j** \ F 40*!uIt

i!fc**ifr* iPJf Nftv"4/4".3(( Jk* A "*XCmr * V44«AA* H %Mt?*CS*IT#«Vvr«?*Z4.o \ AmdH*S .Large Decorationwith Masks.Design for wall ceramic. 1953.Gouache on cut-and-pasted paper,4111 '734 " x 32'10Private collection.

A"XThe Vine. Design for a stainedglass window.(1953). Gouacheon cut-and-pasted8'8paper,x 37". Private collection.opposite:Design for Rose Window,Union Church of PocanticoHills, New York in Memory ofAbby Aid rich Rockefeller.(1954).Gouache on cut-and-pastedpaper, 6'4%" in diameter.CollectionGovernorNelson A. Rockefeller,New York.

eeSELECTEDBIBLIOGRAPHY1 BARR, ALFRED H., Jr. Matisse: His Art andHis Public, New York, Museum of ModernArt, 1951. Bibliography.Life. London, Faber & Faber, 1960. Translation of Matisse, ce Vivant (Paris, Fayard,1956).2 BERNE. KUNSTHALLE. Henri Matisse, 19501954: Les Grandes Gouaches Decoupees.1959. Preface by Franz Meyer. Catalogue ofexhibit also shown at the Stedelijk Museum,Amsterdam, 1960.9 LASSAIGNE, JACQUES. Matisse. Geneva,Skira, 1959. Translated from the French.Bibliography.3 COURTHION,PIERRE. Papiers decoupeesd'Henri Matisse. XX Siecle no. 6, 1956.4 COUTURIER, MARIE ALAIN. RonchampVence. Paris, Editions du Cerf, 1955. Textsalso by L. B. Rayssiguier, A.-M. Cocagnac.10 LEJARD, ANDRE. [Matisse].Oct. 1951.Amis de I' Art11 LUZ, MARIA. Temoinages:XX Siecle no. 2, 1952.Henri Matisse.5 DEGAND, LEON. Matisse a. Paris. Les Lettres Franqaises Oct. 6, 1945.12 PARIS, MUSEE DES ARTS DECORATIFS.Henri Matisse. Les Grandes Gouaches Decoupees. 1961. Exhibition catalogue withpreface by Jacques Lassaigne. Bibliography.6 DIEHL, GASTON. Henri Matisse. New York,Universe Books, 1958. Translation of theTisne edition (Paris, 1954). Bibliography.13 POCANTICO HILLS. UNION CHURCH. TheAbby Aldrich Rockefeller Memorial Window. [1956]7 DUTHUIT, GEORGES & REVERDY, PIERRE.The Last Works of Henri Matisse, 19501954. New York, Harcourt, Brace, 1958.American edition of Verve nos. 35-36 (Paris,1958).14 VENCE. CHAPELLE DU ROSAIRE DESDOMINICAINES.Chapelle du Rosaire desDominicaines de Vence par Henri Matisse.1951.8 ESCHOLIER, RAYMOND,44Matisse from the15 VERDET, ANDRE. Prestiges de Matisse. Paris,Emile-Paul, 1952.

CATALOGUEWorks markedDates enclosedon the works ofcut-and-pastedIn dimensions,OFTHEEXHIBITIONwith an asterisk are illustrated.in parentheses do not appearart. All works are in gouache onpaper unless otherwise noted.height precedes width.1 The Dancer. (1938) 30 x 24". Private collection.* 2 Creole Dancer. June 1950. Gouache andcrayon on cut-and-pastedpaper, 6'8%"x 47%". Museums of the City of Nice,France. III. pi. A of color section.* 3 The Thousand and One Nights. 1950. 57"x 12'6%". Private collection. III. pp. 18-19.* 4 Beasts of the Sea. 1950. 9'7" x 60%".vate collection. III. p. 17.Pri* 5 Snow Flowers. 1951. 68 x 32". Private collection. III. p. 21.* 6 Chinese Fish. Design for a stained glasswindow. 1951. Gouache and crayon on cutand-pasted paper, 6'3%" x 35%". Privatecollection. III. pi. K of color section.* 7 Vegetables. 1952. 69 x 32%".lection. III. p. 20.Private col* 8 Nuit de Noel. Design for a stained glasswindow. 1952. 10'7" x 53% ". The Museum of Modern Art, New York. Gift ofTime Inc. III. pi. J of color section.* 9 Sorrows of the King. 1952. 9'7%" x 12'8".Musee National d'Art Moderne, Paris. III.pis. F—G of color section.*10 Standing Blue Nude. (1952). 44% x 29".Private collection. III. pi. H of color section.45*11 Blue Nude Skipping Rope. (1952). 57 x38%". Private collection. III. p. 24.*12 Blue Nude with Creen Stockings. (1952).8'6%" x 66". Private collection. III. p. 25.*13 Blue Nude, The Frog. (1952). 55% x52 %".Private collection. III. pi. E of color section.*14 Venus. (1952). 39% x 30%". Private collection. III. pi. L of color section.*15 Blue Nude with Flowing Flair. 1952. 42%x 31%". Private collection. III. pi. I of colorsection.*16 Seated Blue Nude, No. 7. 1952. 41% x30% ". Private collection. III. pi. M of colorsection.*17 Seated Blue Nude, No. 2. 1952. 45% x 35".Private collection. III. p. 22.*18 Seated Blue Nude, No. 3. 1952. 45%32". Private collection. III. p. 22.x*19 Seated Blue Nude, No. 4, 1952. 40%30%". Private collection. III. p. 23.x*20 Acrobats. (1952). Gouache and crayon oncut-and-pasted paper, 7' x 6'9%". Privatecollection. III. p. 28.*21 Bather in the Reeds. (1952). 46% x 67%".Private collection. III. p. 30.*22 Sailboat. (1952). 56%lection. III. p. 31.x 44".Private col*23 Woman with Amphora and Pomegranates.(1952). 7' 11%" x 37%".Private collection. III. p. 29.*24 Woman with Amphora. (1952). 64% x19".Private collection. III. pi. P of color section.

/41A"3A"*25 The Swimming Pool. Design for wall ceramic. (1952). 7W2"x 53'11%".Privatecollection.III. pis. B—C of color section(detail); pp. 32-33.*26 Women and Monkeys. (1952). 28"x9'4Private collection. III. pp. 26-27.".*27 Nude with Oranges. (1953). 60 x 42". Private collection. III. p. 34.*28 Large Decoration with Masks. Design forwall ceramic. 1953. 11 '7x 32'10%".Private collection.III. pis. N—O of colorsection (detail); pp. 40-41.*29 The Snail. 1953. 9'4 3lection. III. p. 38.x 9'5". Private col*30 Souvenir of Oceania. 1953. Gouache andcrayon on cut-and-pasted paper, 9'4%" x9'4%".Private collection.III. pi. D ofcolor section.*31 Ivy in Flower. Design for a stained glasswindow.1953. 9'4" x 9'4". The DallasMuseum for ContemporaryArts. Gift ofthe Albert and Mary Lasker Foundation.III. p. 35.*32 The Acanthuses. Design for wall ceramic.(1953). 10 '2V2" x 11'6%". Galerie E. Beyeler, Basel, III. p. 39.*33 The Vine. Design for a stained glass window. (1953). PTPAA" x 37". Private collection. III. p. 42.46*34 Wild Poppies. Design for a stained glasswindow. (1953). Gouache and crayon oncut-and-pastedpaper, 31 V2" x 11'2%".Private collection. III. pp. 36-37.*35 Design for Rose Window , Union Churchof Pocantico Hills,- New York, in Memoryof Abby Aid rich Rockefeller. (1954).6'4%"in diameter. Collection Governor NelsonA. Rockefeller, New York. III. p. 43.36 Jazz. (1947). Album of 20 pochoir plates incolor (stencils), 16% x 25%", with slightvariations (sheet size). The Museum ofModern Art, New York. Gift of the artist.*37-39 Three designs for Church Vestments forthe Chapelle du Rosaire des Dominicainesde Vence, Alpes-Maritimes,France. Forexecution in appliquedcloth, (c. 1950).Musee Matisse, Nice-Cimiez,France. III.pp. 12, 13.40 Design for The Museum of Modern Art,New York Exhibition Catalogue. (1951).10% x 15%". The Museum of ModernArt, New York.41 Design for Jacket of Matisse: His Art andHis Public. (1951). 10% x 16%".TheMuseum of Modern Art, New York.

ACreole Dancer. 1950. Gouache and crayonon cut-and-pasted paper, 6'8%" x 47Museums of the City of Nice, France.B-CThe Swimming Pool. Design for wall ceramic (detail). (1952). 7'6V2 x 53'11 %".Private collection.DSouvenir of Oceania. 1953. Gouache andcrayon on cut-and-pasted paper, 9'4%" x9'4%". Private collection.EBlue Nude, The Frog. (1952). 55% x 52 3Private collection.F-GSorrows of the King. 1952. 9'7% "x12'8".Musee National d'Art Moderne, Paris.HStanding Blue Nude. (1952). 44 % x 29".Private collection.IBlue Nude with Flowing Hair. 1952. 42 Vizx 31%". Private collection.JNuit de Noel. Design for a stained glasswindow. 1952. 10'7"x53%".TheMuseumof Modern Art, New York. Gift of TimeInc.KChinese Fish. Design for a stained glass

New York, in collaboration with the Art Institute of Chicago and the San Francisco Museum of Art Author Museum of Modern Art (New York, N.Y.) Date 1961 Publisher The Museum of Modern Art: Distributed . S. Henderson, Charles Kendrick,