Product Description

Henri Matisse and Pablo Picasso have long been seen as the twin giants of modern art, as polar opposites but also as complementary figures. Between them they are the originators of many of the most significant innovations of 20th-century painting and sculpture, but their relationship has rarely been explored in all of its closeness and complexity. In spite of their initial rivalry, the two masters eventually acknowledged one another as equals, becoming, in their old age, increasingly important to one another both artistically and personally. From the time of their initial encounters in 1906 in Gertrude and Leo Stein's Paris studio until 1917, they individually produced some of the greatest art of the 20th century and maintained an openly competitive relationship brimming with intense innovation. This period saw them create such works as Picasso's majestic "Woman with a Fan" of 1908 and Matisse's great portrait of his wife of 1913. Matisse responds to Synthetic Cubism in his "Piano Lesson" of 1916 and Picasso comes back in turn with a new, more decorative Cubism in "Three Musicians" of 1921. The 20s saw them grow apart, as Matisse moved from Paris to Nice and Picasso became involved with the Surrealists, but the 30s brought them together again, through their sheer fame and devotion to reality-based art. Their story continues until Matisse's death in 1954, when Picasso paid his friend and colleague tribute in his series Women of Algiers, of which he said, "When Matisse died, he left his odalisques to me as a legacy." Matisse Picasso presents the artists' oeuvres in groupings that reveal the affinities but also the extreme contrasts of their artistic visions. Published to accompany the landmark exhibition, a joint effort of The Museum of Modern Art, New York; the Tate Modern, London; the Réunion des musées nationaux/Musée Picasso and the Musée national d'art moderne/Centre Georges Pompidou, Paris; Matisse Picasso is the first major examination of the fascinating relationships between their art, their careers, and their lives. Thirty-four essays, each by a member of the exhibition's curatorial team, focus on a particular moment in the artists' evolving relationship. The authors present in-depth analyses of specific aspects of the unique artistic dialogue between Matisse and Picasso as reflected in selected juxtapositions of each artist's works. These texts are accompanied by an introductory history, commentary on the public perception of important artistic relationships, and an extensive chronology.

Picasso sees everything. --Henri Matisse

By Anne Baldassari, Elizabeth Cowling, John Elderfield, John Golding, Isabelle Monod-Fontaine and Kirk Varnedoe.

Hardcover, 9.75 x 12.25 in., 368 pages, 220 color and 60 b&w

Product Details

• Amazon Sales Rank: #870522 in Books
• Published on: 2002-09-15
• Released on: 2002-07-02
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 368 pages

From Publishers Weekly
It may have been obvious at the time, but the fact that the two (arguably) greatest painters of the 20th century exchanged ideas fluidly, obliquely and prolifically comes as a shock when put as starkly as in this catalogue and the international blockbuster exhibition it accompanies. The authors, eminent curators all, put together the exhibition (currently hanging at New York's Museum of Modern Art) and contribute a total of 34 short essays contrasting particular works and exploring the currents of the two men's mutual influence, including fauvism and cubism. Matisse's Le bonheur de vivre (1905-6) cemented itself in Picasso's mind from their first meeting, and would "reverberate in Picasso's imagination throughout his life," writes Golding. Varnedoe notes the influence of Matisse's Goldfish and Palette on Picasso's 1915 Harlequin, recalling how a dealer said that Matisse declared that his goldfish had "led to" the other man's harlequin. Unfortunately, an indifferent layout and setting of the text takes some of the charge out of the comparisons-a problem that extends to the flat-seeming cover. And a fairly big chunk of Picasso's oeuvre may look dated to many readers, particularly in comparing his late drawings with Matisse's cut-outs. But the mini-essays are of high quality, and anyone who cares about 20th century art will want to be able to trace the overt and covert steals and competitions chronicled here, as well as the often warm personal relationship.
Copyright 2003 Reed Business Information, Inc.

About the Author
Anne Baldassari is Curator at the Musée Picasso, Paris.

Elizabeth Cowling is Senior Curator at the Department of Fine Art, University of Edinburgh.

John Elderfield is Chief Curator at Large at The Museum of Modern Art, New York.

John Golding is a freelance art historian based in London.

Isabelle Monod-Fontaine is Deputy Director at the Musée national d'art moderne/Centre Pompidou, Paris.

Kirk Varnedoe, formerly Chief Curator of the Department of Painting and Sculpture at The Museum of Modern Art, New York, is Professor of Historical Studies at the Institute for Advanced Study, Princeton University.

Customer Reviews

Whew!
Huge, very heavy book of almost 400 pages. Wonderful reproductions in color of their work, and, for the most part, easily understood prose. I think I learned a lot. I know I learned that I like Picasso better than Matisse, whom I found to be basically cold and severe, too intellectual in his art. How he was personally this book does not say. You do get a little more sense of Picasso than Matisse. The book focuses on how these two artists played off each other's work almost all their artistic lives. And as such, it definitely succeeds. It was actually printed in conjunction with a major exhibition of these two, in Paris, London, and New York. A must for all art lovers.

Excellent
This is an excellent book with great reproductions of artwork. It also compares the two artist's. This is a good book for any artist to have.
It arrived as described in a timely manner.

Blockbuster
A blockbuster exhibition and a blockbuster catalogue. This book is hugely informative, very well organized, chronologically, with a constant comparison of both masters. Every masterpiece by Picasso is followed by one by Matisse and vice-versa. It is a break-through study on the mutual influence of both artists, an attempt once tried by the critic Yves-Alain Bois with less success. This book is required material for any arts library. The authors are all authorities in this particular field and vouch for the quality of the acompanying text.