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Henri Matisse: The Cut-Outs


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Karl Buchberg is Senior Conservator at The Museum of Modern Art.Nicholas Cullinan is Director of the National Portrait Gallery in London.Jodi Hauptman is a Senior Curator at The Museum of Modern Art.Samantha Friedman is an assistant curator of the Department of Drawings and Prints at The Museum of Modern Art.Flavia Frigeri is an assistant curator at Tate Modern in London; she is the organizing curator for Tate's Young Patrons.Nicholas Serota is director of Tate Modern's art museums and galleries.


in the 1950's, Matisse competed, consciously or not, with the very latest development in painting, Abstract Expressionism, filling vast surfaces with iconic forms and radiant color.--Joseph Wolin "Time Out Magazine"
Gift Guide: Books--The Editors "Yahoo: Style"
In the late 1940s, suffering from ill health, the French artist Henri Matisse retired his paintbrush. A spirit as creative as his, however, was not to be restrained.--Samuel Cochran "Architectural Digest"
The catalogue for the Tate's exhibition Henri-Matisse: The Cut-Outs surveys Matisse's late collages, including Jazz and the Vence chapel. Works from small-scale collages to frand mural projects are not only illustrated in their final forms but also seen in progres in numerous studio photographs. Fold-out pages give an idea of teh expansive nature of The Parakeet and teh Mermaid, 1952, and The Swimming Pool, 1952, at 16m wide. A technical summary of the cut-outs explains the range of papers used, the paint used to colour the sheets and the method of composition.--Alexander Adams "The Art Newspaper"
Vibrant designs of apparent simplicity spooling from a master's hands in the last decade of his life, each one a tableau of luminosity and power.-- "The Economist"

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