“Matisse’s Matisse” Exhibition Showcases Artist’s Self-Portraits and Artistic Ideals
Beijing recently hosted the “Matisse’s Matisse” exhibition, which showcased a collection of works from the Matisse Museum. The exhibition explores the theme of Matisse’s self-perception as an artist. Matisse was deeply concerned with how his work was presented to the public and, in 1952, at the age of 82, he donated his collection of works and established the Matisse Art Museum in his hometown. He also personally participated in the design of the museum’s displays.
Matisse, often described as eloquent and not like a typical painter when discussing art, believed that the best spokesperson for a painter is their work. This belief is evident in his limited number of self-portraits. Throughout his life, Matisse painted only four self-portraits in oil, with three of them depicting him in the act of painting. After the age of 50, he exclusively created sketches or engravings of his self-portraits, which were outlined with a few strokes.
Interestingly, in addition to self-portraits, Matisse also had a fascination with portraits, particularly well-taken personal photos. He would often use these portraits to illustrate his works in public. His portraits can be divided into two categories: those taken in a working setting, where he can be seen holding a drawing board or sculpting, and personal frontal or profile photos where he appears with a serious expression. These portraits make him look less like a painter and more like a politician.
Matisse’s interest in portraits can be traced back to the criticism he faced in 1905 when his paintings, along with his friends’, were labeled as “Fauvism.” The term “Fauvism” was coined after an article published in the French weekly magazine “Picture” misrepresented their work, leading them to be labeled as “a pack of beasts.” This misunderstanding resulted from their use of bright and colorful paintings, which went against the traditional Western painting tradition that associated elegant taste with muted colors.
Despite the negative reception, Matisse used portrait photography to present himself as a serious and dedicated artist. He would often strategically choose portraits, such as his “self-portrait” titled “Matisse in the Studio” when facing criticism. These portraits helped to reverse the negative image associated with him at that time.
Throughout his career, Matisse also recognized the power of photography, especially in presenting his paper-cut creations. As photography became more popular in newspapers and magazines during his lifetime, Matisse embraced the medium to showcase his work. He even stated that a good photographer is far better than a portrait painter, hinting at the difficulty of others understanding his artistic ideals.
Matisse’s artistic ideal revolved around tranquility and simplification of thought and form. He believed that details would only weaken the clarity of lines and intensity of emotion. While Matisse compromised by using portraits instead of self-portraits, he held onto his ideals in other forms, such as his publication of “Painter’s Notes” in the famous “Grand Review” magazine. In this article, Matisse expressed his theoretical position, which emphasized balance, purity, and serenity in art.
“Matisse’s Matisse” exhibition not only showcases the artist’s self-perception through his self-portraits and portraits but also explores his artistic ideals. Matisse’s dedication to presenting his work, despite facing criticism and misunderstandings, highlights his determination to be understood and appreciated as an artist.