After Paris
In 1917 Matisse relocated to Cimiez on the French Riviera, a suburb of the city of Nice. His work of the decade or so following this relocation shows a relaxation and a softening of his approach. This "return to order" is characteristic of much art of the post-World War I period, and can be compared with the neoclassicism of Picasso and Stravinsky, and the return to traditionalism of Derain. His orientalist odalisque paintings are characteristic of the period; while this work was popular, some contemporary critics found it shallow and decorative.
In the late 1920s Matisse notably once again engaged in active collaborations with other artists. He worked with not only Frenchmen, Dutch, Germans, and Spaniards, but also a few Americans and recent American immigrants.
After 1930 a new vigor and bolder simplification appeared in his work. American art collector Albert C. Barnes convinced him to produce a large mural for the Barnes Foundation, The Dance II, which was completed in 1932; the Foundation owns several dozen other Matisse paintings. This move towards simplification and a foreshadowing of the cutout technique are also evident in his painting Large Reclining Nude (1935). Matisse worked on this painting over a period of several months and documented the progress with a series of 22 photographs which he sent to Etta Cone.
Read more about this topic: Henri Matisse
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—Henry Brooks Adams (1838–1918)
“C’est à Paris que je me coiffe
Casque noir de jemenfoutiste.”
—T.S. (Thomas Stearns)