NOTES

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CHAPTER ONE

1. Collectors 1995, p. 132; John Hallmark Neff, “Matisse and Decoration, 1906–1914” (Harvard, 1974), ph.d. thesis, chap. 3, kindly shown me by John Golding (the commission—for a stained-glass window—was ultimately abandoned); and see Spurling, pp. 414 and 464, n. 170.

2. Gisela Fiedler-Bender, Matisse und seine deutsche Schuler, ex. cat. (Pfalzgalerie Kaiserslautern, 1988), p. 18.

3. Stein, p. 103 (HM corrected her account in “Testimony against Gertrude Stein,” transition [July 1935]: p. 6); Whittemore bought HM’s La Terrasse in 1907 and presented it in 1912 to the Isabella Stewart Gardner Museum, Boston.

4. Much argument has centred on the dating of Nymph and Satyr, but I am assured by Wanda de Guébriant that it was reserved by Bernheim-Jeune on 26.11.08.

5. Cezanne’s Abduction was in the Zola sale at Hotel Drouot, Paris, in March 1903, which HM is unlikely to have missed.

6. To Edward G. Robinson, PM/HM, 19.11.52, PMP.

7. Aragon I, p. 236, n. 3.

8. Information from Shchukin’s biographer, Natalia Semenova. Authorities from Barr onwards have traditionally assigned a later date to this key encounter, but in fact HM was away from Paris from 7 February (HM/Fénéon, 7.2.09, Matisse 1993, p. 87–88) until at least 9 March; I am grateful to Wanda de Guébriant for pointing out that his post was forwarded to him throughout this period in Cassis, although he continued to use his Paris address for business correspondence.

9. SS/HM, 27.3 and 30.5.09, in Kostenevich/Semenova, pp. 164–65, 107.

10. SS/HM, 30.5.09, Kostenevich/Semenova, p. 165; and see Barr, p. 133.

11. HM/Fénéon, 7.2.09.

12. Sembat 1920, p. 7, and Les Cahiers noirs, 3e partie, 1906–10 (Paris, 1984), entry for 9.3.09, p. 28.

13. For the Humbert Affair, see Spurling, chaps. 7 and 8.

14. AM/MM, 28.12.23, AMP.

15. HM/AM, 31.8.28, AMP.

16. Accounts vary because, as numbers rose, HM was forced to reduce the amount of time he gave his pupils; he seems to have had two studios at the Sacré Coeur, one next to his students, the other in the family quarters.

17. Sigfried Ullman, Scandinavian Modernism: Painting in Denmark, Finland, Iceland, Norway and Sweden 1910–1920, ex. cat. (Göteborgs Kunstmuseum: Gothenburg, 1989), p. 62 (I am grateful to Lars Erik Sundberg for drawing my attention to this informative catalogue); my account of the school is based also on John Lyman, “Adieu, Matisse,” Canadian Art, vol. 12, no. 2 (winter 1955); Alice Keene, The Two Mr. Smiths: The Life and Work of Matthew Smith l879–1959 (London, 1995); Malcolm Yorke, Matthew Smith: His Life and Reputation (London, 1997); Billy Klüver and Julie Martin, Kiki’s Paris: Artists and Lovers, 1900–1930 (New York, 1989); and see Spurling, pp. 406–10.

18. H. Purrmann, “From the Workshop of Henri Matisse,” The Dial, vol. 73 (July 1922).

19. P. H. Bruce/HM, n.d. [autumn 1909], AMP.

20. Ullman, Scandinavian Modernism, p. 63.

21. Information from LD.

22. Klüver and Martin, Kiki’s Paris, pp. 40 and 216, n. 6.

23. Kostenevich/Semenova, p. 13, n. 22.

24. See Spurling, p. 385, and chap. 2, p. 45.

25. M. Vassilieff, “La Bohème du 20e siècle: Mémoires,” 1929, ts. kindly provided by Claude Bernés; my account of her story is based on these memoirs, and on Ada Raev, “Die ‘Russische Seite’ der Marie Vassilieff,” in Marie Vassilieff 1884–1957: Eine Russische Kunstlerin in Paris, ex. cat. (Verborgene Museum: Berlin, 1995). I am grateful to Claude Bernés—and to his exhibition, “Marie Vassilieff dans ses murs,” Musée du Montparnasse, Paris, 1999—for much help and information.

26. Toison d’or, no. 6 (June 1909) (translation credited to the editor, Nikolai Riabushinsky).

27. The surname has often been transliterated as “Merson,” but the name she used herself and the signature on her paintings is “Meerson.” Her recent arrival in Michael Stein/Gertrude Stein, 1 June, n.d. [1908], Beinecke, and Sarah Stein/Gertrude Stein, n.d. [summer 1908], ibid.; she shared a studio with Vassilieff (Kostenevich/Semenova, p. 13), but is not mentioned in the latter’s memoirs (which notoriously elide, telescope or suppress facts and dates). For Mlle Russia, see P. Bruce/Leo and Gertrude Stein, n.d. [summer 1908], Beinecke.

28. This and the next quote from HM/Dr. Paul Dubois, Nov. 1911, Getty Center.

29. Application by OM to Moscow School of Painting, Sculpture and Architecture, 24.1.1891, Russian State Archive for Art and Literature, Moscow; my account of the Meerson family is based on a dossier from the State Archive kindly supplied by Natasha Semenova, including OM’s birth certificate (b. 23.11.1878 to Marcus and Maria Amelia Faivushevna Merson of Ponevjev) and police permit, and the birth certificate and art-school application of her brother Feodor; and on information from OM’s daughter, Tamara Estermann.

30. Gisela Kleine, Gabriele Münter und Wassily Kandin-sky: Biographie eines Paares (Frankfurt, 1990), p. 712, n. 16; my account of OM, Kandinsky and the Phalanx Klasse based also on Münter’s memoirs in Annegret Hoberg, Wassily Kandinsky and Gabriele Münter: Letters and Reminiscences 1902–14 (Munich, 1994), p. 31.

31. For Dame assise sur I’berbe, or Fräulein Merson à Kochel, 1902, see Kandinsky, ex. cat. (Paris, 1984), no. 10; see also Hans K. Roethel and Jean K. Benjamin, Kandinsky: Catalogue raisonné of the Oil Paintings, vol. 1, 1900–1915 (London, 1982), nos. 33 (Studie zu Schleuse, 1901, ded. “To Olga Markusovna Meerson from W. Kandinsky, 27 Feb. 1902”), 589 and 594.1 am grateful to Peter Kropmanns for first alerting me to this connection, and for help in sorting it out.

32. Information from Tamara Estermann.

33. OM exhibited Breton subjects in Moscow and Paris in 1908 (her Breton Peasant Girl, priv. coll., signed and dated 1905, wears the characteristic coiffe of the Pont Aven region), and her Munich lodging at 16 Gisela Strasse was a few doors from the famously hospitable studio of Werefkin and Jawlensky at no. 23 (see Bernd Fäthke, Marianne Werefkin: Leben und Werken 1860-1938 [Munich, 1988]).

34. OM’s letters to Lilia Efron, in the Russian State Archive of Art and Literature, Moscow, kindly supplied by Natasha Semenova.

35. Jelena Hahl-Koch, Kandinsky (London, 1993), p. 177; for this whole episode, see also Magdalena M. Moeller, ed., Der frübe Kandinsky: 1900–1910, ex. cat. (Berlin, 1994), p. 34; Kleine, Gabriele Münter und Wassily Kandinsky, p. 258; and Spurling, pp. 386 and 462, n. 38.

36. Mann claimed that his character was entirely imaginary (A Sketch of My Life [London, 1961], p. 31), but the similarities in name, looks, character and circumstances suggest a strong factual base; for Epstein, see Bernd Fäthke, Elisabeth Ivanovna Epstein: Eine Künstlerfreundschaft mit Kandinsky und Jawlensky (Ascona, 1990); her friendship with OM documented in OM/L. Efron, n.d., Russian State Archive for Art and Literature, Moscow.

37. E. Burns, ed., Staying on Alone: The Letters of Alice B. Toklas (New York, 1973), p. 92.

38. Frances Spalding, Roger Fry: Art and Life (London, 1980), p. 137.

39. M. S. Prichard/Helen Sears, 13.2.10, Labrusse 2.

40. Inez Haynes Irwin, “Adventures of Yesterday,” ts. (Radcliffe College, Cambridge, Mass. [JC]), p. 137 (she visited HM’s studio on 20.4.08).

41. M. Stein/G. and L. Stein, Sunday, 12 noon, n.d. [1908], Beinecke.

42. Barr, pp. 126–27.

43. Janet Flanner, Men and Monuments (London, 1957), p. 88.

44. Stein, p. 56.

45. J. Tugendhold, “Salon d’Automne,” Apollon, no. 12 (1910) (show put on by the Société Russe artistique et littéraire at 6 Impasse Ronsin in December 1910).

46. L’Intransigeant, 31.9.09, in L. C. Breunig, ed., Chroniques d’Art 1901–18 (Paris, 1960), p. 162.

47. M. Vassilieff/HM, 8.12.11, AMP.

48. HM/P. Dubois, 28.11.11, Getty.

49. Hans Purrmann, “From the Workshop of Henri Matisse,” The Dial, vol. 73 (July—December 1922), repr. New York, 1966, p. 34.

50. See Flam 1, p. 248, A. Kostenevich in Collectors 1995, p. 418, and Flam 5, p. 74; I am grateful to OM’s daughter, Tamara Estermann, for information about the colour of her hair (much has been deduced from the fact that HM abandoned Nymph and Satyr with the paint still wet, but in fact he habitually sold or showed works with wet paint, e.g., Girl with Green Eyes, bought by Harriet Levy in 1908, and Pink Studio, shown at the 1911 Independents’ Salon).

51. Vassilieff: “La Bohème du 20e siècle.”

52. Aragon 1, p. 236, note (translation HS).

53. The correspondence is in Kostenevich/Semenova, pp. 163–65.

54. Information from Claude Duthuit.

55. Flam 1, p. 223.

56. Alan Bowness et al., Post-Impressionism: Cross-Currents in European Painting, ex. cat. (Royal Academy: London, 1979), p. 61; for HM and Cross, see Spurling, pp. 285–91 and 321–32.

57. Three letters from Cross to HM, n.d. [Jan.—Feb. 1909], AMP.

58. M. S. Prichard/Isabella Stewart Gardner, Easter Day [11 Apr.], 1909, in Labrusse 1, p. 276, n. 163; the canvas was Dance (I), MoMA.

59. Flam 2, p. 54.

60. Natasha Udailtsova, entry for 12.4.09 from a journal, published Moscow, 1994, kindly supplied by Natasha Semenova.

61. Information from Claude Duthuit; I am grateful to Dr. Stanley Blaugrund of New York for general information about tracheal malfunction and treatment; for the earlier episode, see Spurling, p. 231.

62. Date in deed of sale, 1912, Archives, Musée Français de la carte à jouer, Issy-les-Moulineaux.

63. Stein, p. 102.

64. Lyman, “Adieu Matisse,” and information from Wanda de Guébriant.

65. HM/H. Manguin, 15.7.09, Archives Jean-Pierre Manguin, Avignon; my account of this summer based on HM’s letters to Manguin, ibid.; and M. Stein/G. Stein, 7.8.09, Beinecke.

66. Flam 2, p. 54.

67. Η-E. Cross/HM, 4.8.09, AMP; and see Spurling, pp. 321–22.

68. Maurice Denis, Théories (Paris, 1920 [1913]). p. 164.

69. Η-E. Cross/HM, 21.9.06, AMP.

70. Sembat 1913, p. 190 (Sembat noted the date in his journal as 30.10.09, and paid 600 francs for the picture to Bernheim-Jeune on 6.11.09).

71. Sembat 1920, p. 9.

72. Camille Schuwer/M. S. Prichard, 13.10.10, Labrusse 3.

73. Couturier, p. 136.

74. Sembat 1920, p. 9.

75. Spurling, p. 148.

76. George Melly, Don’t Tell Sybil: An Intimate Memoir of E. L. Mesens (London, 1998).

77. A Sketch of My Life (London, 1961), p. 30 (from Fiorenza, 1906).

78. Jules Romains, Amitiés et rencontres (Paris, 1970), p. 93.

79. Information from Claude Duthuit (pyjama-suits for casual wear at home had been recently introduced to Europe from India and the East; nightshirts were for sleeping).

80. “Tonio Kröger,” 1903, in Death in Venice (London, 1955), p. 190; the next quote is from p. 191.

CHAPTER TWO

1. HM/PM, 6.6.42, PMP.

2. LD to HS in the course of a series of interviews between 1993 and her death in 1998.

3. Couturier, p. 140.

4. A. Gilot, p. 46.

5. This and all the other quotes in this paragraph are from R. Dorgelès, Bouquet de Bohême (Paris, 1989 [1947]), pp. 228–29.

6. HM to P. Courthion, Courthion papers (loose sheet), Getty.

7. C Lewis Hind, The Post-Impressionists (London, 1911), p. 46.

8. My account is based on a visit to the house with Claude Duthuit in May 2000; on the deed of sale of 3.1.12 (referring back to the lease of 18.5.09), the surveyor’s 1909 plan and local land registers in the archive of the Musée Français de la carte à jouer, Issy-les-Moulineaux; see also Pierre Beis, Issy-les-Moulineaux au jour le jour (Issy, 1994), and Alain Becchia, Issy-les-Moulineaux: Histoire d’une commune suburbaine de Paris (Issy, 1977).

9. Georges Flandrin and François Roussier, Jules Flandrin, 1871–1947 (Paris, 1992), p. 108.

10. S. Bussy/HM, 12.9.10, Bussy.

11. HM/J. Biette, n.d. [spring 1910], AMP, and HM’s correspondence with his wife passim.

12. AMP, see Barr, p. 553, and see Joan Halperin, Félix Fénéon, Aesthete and Anarchist in Fin-de-siècle Paris (New Haven, 1988).

13. See, e.g., Bussy J. S., p. 81, and Spurling, p. 369.

14. Berenson, “Encounters with Matisse,” in Flam 3, p. 374.

15. HM/B. Berenson, draft, 6.12.09, and Β. Berenson/HM, 12.12.09, AMP; my account of this affair is based on this correspondence, on B. Strachey and J. Samuels, eds., Mary Berenson: A Self-Portrait from Her Letters and Diaries (London, 1983), pp. 155,161; and 163; and on Bernard Berenson and Isabella Stewart Gardner, 1887–1924 (Boston, 1987), p. 454. Berenson showed HM’s designs to Clive Bell (C. Bell/A. Barr, 25.6.50, MoMA), but I am assured by Fiorella Superbi of the Villa I Tatti, Florence, that they are no longer in Beren-sons archive.

16. HM/MM, 20.6.26, AMP.

17. Flam 1, p. 264 and n. 34, p. 495.

18. HM/J. Biette, n.d. [Jan. 1910], AMP.

19. HM/AM, Sunday evening, 9 p.m., n.d. [11.12.10], AMP.

20. O. Mirbeau, Correspondance avec Claude Monet, ed. Pierre Michel et J-F. Nivet (Paris, 1990), p. 225.

21. Dorgelès, Bouquet de Bohême, pp. 229–44; my account also based on A. Salmon, Souvenirs sans fin, vol. 2,1908–20 (Paris, 1956), p. 184; Courthion, p. 141; and “Boronali,” in E. Bénézit, Dictionnaire Critique et documentaire des peintres etc. (Paris, 1976); for Salmons 1910 article, see Flam 3, pp. 129-30.

22. R. Dorgelès, “Le Prince des Fauves” Fantasio, no. 105,1.12.10, in Flam 3, pp 124–26.

23. Charles Morice, “A qui la couronne?” Le Temps, Flam 1, p. 281, n. 3; see chap. 1, p. 4 above.

24. HM/AM, Saturday afternoon, n.d. [March 1910], AMP; my dates for this trip based on letters written from Collioure (e.g., HM/Mqt, 25.3.10, and G. Sembat/HM, 2.4.10, both AMP).

25. HM/AM, Tuesday, n.d. [March 1910], AMP.

26. E. Terrus/HM, 9.6.10, AMP.

27. HM/AM, Tuesday, n.d. [March 1910], AMP.

28. HM/G. Stein, pc, n.d. [March 1910], Beinecke.

29. G. Apollinaire, Chroniques d’Art 1902–18, ed. L. C. Breunig (1960), p. 94 (the canvas was Girl with Tulips).

30. “Le dernier état de la peinture,” 1910, in L’Effort des peintres modernes (Paris, 1933).

31. G. Sembat/HM, 2.4.10, AMP.

32. S. Shchukin/I. Ostraoukhov, 9.11.09, in Semenova; H. Tschudi/HM, 27.6.10., AMP.

33. H. Levy, “Reminiscences,” ts., Bancroft Library, University of California, Berkeley.

34. R. Gathorne-Hardy, ed., Ottoline: The Early Memoirs of Ottoline Morrell (London, 1963), p. 191.

35. David Sox, Bachelors of Art: Edward Perry Warren and the Lewes House Brotherhood (London, 1991), pp. 207–8.

36. M. S. Prichard/I. S. Gardner, 2.1.09, Isabella Stewart Gardner Museum, Boston; the next quote from ibid., 7.7.09.

37. M. S. Prichard/HM, 13.12.12, in Labrusse 3; my account of Prichard is based primarily on this invaluable compilation (kindly supplied by the author), drawn from Prichard’s letters and notebooks, and from records of his conversation made by two of his disciples, Georges Duthuit and William King, in the archives of the Isabella Stewart Gardner Museum, Boston, and the Archives Duthuit, Paris, in Labrusse 1 and 2.

38. M. S. Prichard/HM, 12.3.11, Labrusse 3.

39. Labrusse 2, p. 28.

40. M. Duthuit, “Notes sur Matisse,” in Labrusse 2, and Levy, “Reminiscences.”

41. M. S. Prichard/Heather Sears, 13.2.10, in Labrusse 2.

42. Charles H. Caffin, “Henri Matisse and Isadora Duncan,” Camera Work, no. 25 (January 1909), p. 18.

43. See Spurling, p. 210.

44. Labrusse 3.

45. G. Sembat/HM, 2.4.10, AMP.

46. Barr, p. 138, Couturier, p. 131, and H. Purrmann, “From the Workshop of Henri Matisse,” The Dial, vol. 73 (July—December 1922).

47. Leo Stein, Appreciations: Painting, Poetry and Prose (New York, 1947), p. 122.

48. “From the Workshop of Henri Matisse” [Purrmann wrote from memory twelve years later, by which time he had forgotten there were five figures, not four]; the next quote from ibid.

49. Flam 2, pp. 289–90, and G. Duthuit, Les Fauves (Geneva, 1949), p. 225.

50. Spurling, p. 46.

51. Charles H. Caffin, The Story of French Painting (New York, 1911), pp. 215–16.

52. HM/J. Biette, n.d. [May 1910], AMP (this letter is wrongly dated March in Matisse 1993, p. 93).

53. Stein, Appreciations, p. 132; the following quote from ibid., p. 203.

54. H. McBride, letter to Otto, 8.6.10, Archives of American Art, Smithsonian Institution, JC.

55. C. Bell, “The Post-Impressionist Exhibition,” Art News (1950).

56. R. Fry/Helen Fry, 17.5.09, in Frances Spalding, Roger Fry: Art and Life (London, 1980), p. 118; see also p. 147; Fry’s review in The Nation, 29.10.10.

57. HM/J. Biette, n.d. [May 1910], AMP.

58. E. Terrus/HM, 9.6.10, AMP.

59. HM/J. Biette, n.d. [May 1910], and HM/JM, 18.6.10, AMP, and Mqt/H. Manguin, 2 pc’s [end Aug. and Sept.] 1910, Archives J-P. Manguin, Avignon.

60. Stein, p. 102.

61. Information from 1911 census, Archives, Museum of Issy-les-Moulineaux.

62. C. R. W. Nevinson, Paint and Prejudice (London, 1937), p. 125.

63. Hind, p. 53.

64. Apollinaire, Chroniques d’Art, p. 158; HM/ J. Biette, 26.10.10, AMP; and see Spurling, pp. 398-99.

65. G. Fiedler-Bender, Matisse und seine deutschen Schule, ex. cat. (Pfalzgalerie Kaiserslautern, 1988), p. 18.

66. Roger Fry, “The Munich Exhibition of Mohammedan Art. I,” Burlington Magazine, vol. 17 (April—September 1910), p. 284; reprinted in Vision and Design (1929 [1920]), London, p. 117.

67. Labrusse 3.

68. Labrusse 1, p. 105; for HM on Islamic art, see Fourcade, p. 203, and Barr, p. 109.

69. Emile Hippolyte Henri Matisse, death certificate, municipal archives, Bohain; for the funeral, see Alice B. Toklas, “Some Memories,” Yale Literary Magazine (fall 1955), p. 15.

70. Couturier, p. 167.

71. PM, Bernier tapes.

72. Matisse 1993, p. 95.

73. HM/J. Biette, 26.10.10, AMP.

74. Maurice Denis, Théories (Paris, 1920 [1913]), pp. 161 and 160 (I have amalgamated Denis’s catalogue prefaces to two successive Bernheim exhibitions in 1907 and 1910); Cross died 11.5.10.

75. HM/J. Biette, 26.10.10, AMP.

76. Kostenevich/Semenova, p. 19, and Semenova.

77. MM/PM, 19.4.63, Barr files, MoMA; and Courthion, p. 106.

78. Kean, p. 167.

79. S. Shchukin/HM, telegram, 10.11.10, and letter, 11.11.10, Kostenevich/Semenova, p. 167 (the Puvis was swapped for HM’s Girl with Tulips).

80. H. Purrmann/A. Barr, 3.3.51, MoMA, and HM/AM, 11.12.10, AMP.

81. HM/AM, 6.12.10, AMP.

82. Couturier, p. 145.

83. MM/PM, 19.4.63, Barr files, MoMA.

84. M. S. Prichard/Isabella Stewart Gardner, 22.11.10, ISG Archives, Boston, JC.

85. HM/J. Biette, 9.1.11, AMP.

86. HM/Mqt, 17.11.10, AMP; next quote ibid., n.d.

87. HM/AM, n.d. [c. 28.11.10], AMP. My chronology for this Spanish trip is based on HM’s correspondence with AM, which is also the source of all information and quotes not otherwise attributed.

88. I am grateful to Martin Brunt for much information about Bréal and his household in Seville.

89. HM/AM, Sunday evening [11.12.10], AMP. (The rug would feature in Seville Still Life, Spanish Still Life and The Pink Studio?)

90. HM/Camoin, misdated as 3.10.10, in Camoin, p. 20.

91. HM/Manguin, 3.12.10, Archives J-P. Manguin, Avignon.

92. Courthion, pp. 106–7; see also HM/J. Biette, 9.1.11, AMP.

93. Information from LD.

94. HM/AM, 22.12.10, AMP.

95. HM/AM, 8.12.11, AMP.

96. HM/AM, n.d. [10.12.10], AMP; HM spent 11–12 December at the Alhambra, catching the three p.m. train from Malaga to Seville on 13 December.

97. Labrusse 2, record of conversation with HM, 30.6.13, pp. 21–22; see also Claude Duthuit, “La luce nasce sempra dall’Est,” Matisse 1998, p. 21; and Spurling, p. 423 (SS’s letter of 27.11.10 in Kostenevich/Semenova, pp. 167–68).

98. Roger Fry, “The Munich Exhibition of Mohammedan Art. II,” Burlington Magazine, vol. 17 (April—September 1910), p. 327; and see John Hallmark Neff, “Matisse, His Cut-Outs and the Ultimate Method,” ts. kindly shown me by John Golding, pp. 24–27.

99. Flam 3, p. 152.

100. G. Sembat/HM, 5.12.10, AMP.

101. Barr, p. 151; HM said he painted these canvases in a hired studio, not, as has been previously assumed, in his hotel room, HM/AM, 14.12.10.

102. J. Tugendhold, “Frantsuzkoie sobranie S. I. Shchukina,” Apollon, vols. 1–2 (Moscow, 1914), pp. 22–28, translation HS.

103. HM’s Joaquina and Iturrino’s Gitana are reproduced together with their four still lifes in Kosme M. de Baranano, “Matisse e Iturrino,” Goya, 205–206 (July—Oct. 1988), pp. 94–95, JC; additional information from Martin Brunt and A. Bréal/HM, 27.3.26, AMP.

104. Extract from HM’s 1946 notebook, ts., PMP.

105. HM/AM, Sunday, 9 p.m., n.d. [11.12.10], AMP.

106. This and the next quote from Courthion, p. 107.

107. HM/J. Biette, 9.1.11, AMP.

108. Dorgelès’s article in Flam 3, pp. 124–26, and see Spurling, p. 380.

109. Nevinson, p. 19.

110. SS/HM, 20.12.10, Kostenevich/Semenova, p. 168.

CHAPTER THREE

1. HM/AM, 4.12.10; the next quote from HM/AM, 8.12.10, both AMP.

2. SS’s letters in Kostenevich/Semenova, pp. 167–69.

3. HM/AM, 2.12.10, AMP.

4. HM/AM, Sunday evening, 9 p.m., n.d. [11.12.10], AMP.

5. HM/AM, 7.12.10, AMP.

6. HM/AM, 5.12.10, AMP.

7. HM/AM, 22.12.10, AMP.

8. HM/AM, 28.11.10, AMP.

9. Terrus/HM, 27.12.10, AMP.

10. HM/AM, 25.12.10, AMP.

11. HM/AM, Armand and Berthe Parayre, 27.12.10, AMP.

12. J. Puy/HM, 11.1.11, AMP.

13. Stein, p. 11

14. “Storyette HM,” 1911, in G. Stein, Portraits and Prayers (New York, 1934).

15. My account based on HM/AM, n.d. [1.12.10], and 6.12.10, Seville, AMP; and information from Katharine and Martin Brunt.

16. HM/AM, n.d. [11.12.10], Alhambra, and Kostenevich/Semenova, p. 169, n. 4.

17. E. Terrus/HM, 27.12.10; the stop-off at Cahors in E. Terrus/AM, 25.1.11.

18. A. Bréal, Cheminements (Paris, 1928), p. 66.

19. Barr, p. 131.

20. HM/MDM, n.d. [postmark 21.6.26], AMP; and see Spurling, p. 242.

21. See A. Salmon, “Courier des Artistes,” Paris Journal, 25.4.11.

22. Le Journal, 20.4.11.

23. Guillaume Apollinaire, Chroniques d’Art 1902–18, ed. L. G Breunig (Paris, 1960), p. 259.

24. See Gisela Kleine, Gabriele Münter und Wassily Kandinsky (Frankfurt, 1990), p. 241, and Helena Jahl-Koch, Kandinsky (Stuttgart, 1993), p. 177.

25. HM/AM, Wednesday morning, n.d. [25.10.11], Moscow, AMP. My account of OM’s family and her relations with HM is based on his letters to her (Getty Center) and to his wife (AMP); on her letters to Lilia Efron (Russian State Archive of Art and Literature, Moscow, kindly made available by Natasha Semenova); and on information from OM’s daughter, Tamara Estermann.

26. HM/Paul Dubois, Nov. 1911, Getty Center.

27. HM/OM, n.d., Getty Center (which holds a second undated note, four postcards and a telegram from HM to OM; AMP has a further telegram, inviting her to lunch at Issy).

28. Information from Wanda de Guébriant, see p. 20.

29. Alice B. Toklas, What Is Remembered (New York, 1963), p. 38.

30. Information from LD.

31. See chap. 3, p. 81.

32. Pierre Schneider in Flam 1, pp. 323 and 499, n. 1.

33. OM/L. Efron, n.d. [July 1912], Laningen am Donau.

34. Information from LD, who discussed this affair and its implications with me on several occasions before her death in 1998.

35. HM/P. Dubois, 28.11.11, Getty.

36. HM/P. Dubois, Nov. 1911, Getty.

37. HM/P. Dubois, 28.11.11., Getty.

38. Mqt/HM, 7.1.11; OM’s postcard in Getty.

39. Cited in Dominique Fourcade, “Réver à trois Aubergines,” Critique (May 1974), p. 484.

40. Fourcade, p. 203, and Flam 2, p. 178.

41. Fourcade, “Réver à trois Aubergines,” p. 480.

42. Flam 2, p. 62.

43. SS/HM, n.d. [26.3.11] and 20.12.10 in Kostenevich/Semenova, pp. 170 and 168.

44. Courthion, p. 104, and Kean, p. 188.

45. The Matisses were planning to leave Paris in late July (M. Stein/G. Stein, July 19 [1911], Beinecke), and had reached Collioure by 30 July (HM/Mqt, 30.7.11).

46. Collioure school register, 1911 and 1912.

47. Louis Codet, Le Roussillon à l’origine de l’art moderne, 1894–1908, ex. cat. (Palais des Congrès: Perpignan, 1998), p. 35.

48. E. Terrus/HM, 9.1.11, AMP.

49. O. Traby, preface to Etienne Terrus, ex. cat. (Musée Terrus: Elne, 1994), ed. Madeleine Raynal, p. 2.

50. J. Puy/HM, 10.10.11, AMP.

51. Jean-Pierre Barou, Matisse ou le miracle de Collioure (Montpellier, 1997), pp. 80–81.

52. S. Bussy/HM, 24.9.11, AMP.

53. M. Stein/C. Cone, 5.1.12, Baltimore Museum.

54. Information from Claude Duthuit, who was present.

55. Information from Wanda de Guébriant.

56. G. Sembat/HM, 1.10.11, AMP.

57. Confusion over the dating of this canvas has arisen because AM’s date of 1910 was subsequently amended to 1911 by MM (who was present when it was painted), AMP; I am assured by Wanda de Guébriant that the latter is correct.

58. Barr, p. 131.

59. Both in private collections.

60. Annegret Hoberg and Helmut Friedel, Gabriele Münter 1877–1962 Retrospektive, ex. cat. (Prestel, 1992), p. 32.

61. Flam 2, p. 178, Fourcade, p. 204.

62. J. Puy/HM, 10.10.11; see also Mqt/HM, 7.1.11, and E. Terrus/HM, 9.12.11, all AMP.

63. OM/L. Efron, n.d. [1912], Russian State Archive of Art and Literature, Moscow (only the first of these five letters is dated—26.3.12—but the whole sequence evidently belongs to 1912).

64. SS/HM, 3.9.11, Kostenevich/Semenova, p. 170, and G. Sembat/HM, 24.10.11.

65. Courthion, p. 104.

66. Barr notes, 18.11.50, MoMA.

67. HM/AM, n.d. [20.10.11], AMP. All quotes from HM not otherwise attributed in my account of this Moscow visit come from his daily bulletins to his wife; further information from Kean, Kostenevich/Semenova and Y Shchukina, na Zhamenke… by Alexandra Demskaya and Natalia Semenova (Moscow, 1993), and from Y. A. Rusakov, “Matisse in Russia in the Autumn of 1911,” trans. J. E. Bowlt, Burlington Magazine, no. 866 (May 1975) (where I have seen the original Russian text, or other French or English versions of it, I have occasionally adjusted the translation).

68. Kean, p. 188, and HM/A. Romm, Nov. 1934, in Kostenevich/Semenova, p. 32 (restorers finally removed the addition in 1988).

69. See Kostenevich/Semenova, pp. 21–22.

70. SS posted his request for two still lifes before the arrival of Dance and Music on 4 December, and commissioned three more panels on 20 December, Kostenevich/Semenova, pp. 21 and 168.

71. I. Zhilkin, Russkoe slovo, 22.9.11, ibid., p. 22; SS’s indoctrination produced strikingly similar ideas and turns of phrase in accounts by others, e.g., A. Benois, Β. N. Ternovets, ibid., pp. 20–21 and 23, and Louis Réau, “L’Art Français en Russie,” La Grande Revue, 10.11.09.

72. Sergei Vinogradov, Kostenevich/Semenova, p. 23.

73. Ibid., p. 42.

74. Rannieie Utro, 26.10.11, ibid., pp. 47–48.

75. HM/AM, n.d. [16.11.11], AMP; and see Kean, p. 190, Kostenevich/Semenova, pp. 27 and 31–32.

76. Kean, p. 188.

77. This previously unsuspected deal is documented in HM’s first and third letters to AM from Moscow, both undated but datable to 25 and 31.10.11, AMP.

78. HM/AM, 8.12.10, AMP.

79. Kostenevich/Semenova, pp. 22–23.

80. Rusakov, “Matisse in Russia,” p. 289.

81. Kostenevich/Semenova, p. 24.

82. Ibid., p. 36.

83. Ibid., p. 24.

84. The play was a comedy by Hamsun called In Life’s Clutches.

85. Kostenevich/Semenova, p. 36.

86. Kostenevich/Semenova, pp. 50–51, and Matisse 1999, p. 82.

87. See HM/Sophia Markusovna Adel, Thursday, 11 Jan. [1912], Getty (the previously unidentified recipient of this letter was OM’s elder sister and guardian, whom the Matisses had met in Paris; “Mlle Lili” is Lilia Efron, “Mlle Tamara” is OM’s cousin Tamara Adel, “Mme Curie” is HM’s ex-pupil Militsa Nikolaevna Curie); and see Kostenevich/Semenova, n. 1, p. 50.

88. HM’s two letters to Dubois in the Getty; I am assured by Paul Dubois’ biographer, Dr. Christian Müller, that no trace of this correspondence nor any mention of OM survive in the Dubois archive in Bern, and that his many published case histories are composite, rather than based on individual patients.

89. OM/L. Efron, n.d. [1912].

90. HM/S. Adel, 11 Jan. [1912], Getty; Dr. Kritchevsky was the Steins’ and the Matisses’ Parisian dentist, pc, S. Stein/G. Stein, June, n.d. [1909–10], Beinecke, and HM/AM, 20.1.19, AMP.

91. Information from Wanda de Guébriant.

92. This and the next three quotes from OM/ L. Efron, n.d., 1912.

93. I am grateful to Peter Kropmanns for information about this show at Galerie Alfred Flechtheim, Berlin, 1922.

94. Heinz Pringsheim statement, Munich, 5.11.59, AMP.

CHAPTER FOUR

1. Matisse 1999, p. 79.

2. HM/PM, 3.4.42, PMP.

3. SS/HM, 3.9.11, in Kostenevich/Semenova, p. 170, and HM/AM, Tuesday, n.d. [Nov. 1911], AMP.

4. J. Tugendhold, “Frantsuzkoie sobranie S. I. Shchukina,” Apollon, vols. 1–2 (Moscow 1914): p. 27, translation HS.

5. Kostenevich/Semenova, p. 36.

6. This and the next two quotes from Tugendhold, “S. I. Shchukina.”

7. Utro Rossii, 27 and 28.10.11, Y A. Rusakov, “Matisse in Russia in the Autumn of 1911,” text of 1973 lecture, Hermitage Museum, translation HS from the original unabridged ts. in the Tretiakov Archive, Moscow (see Burlington Magazine, no. 866 [May 1975]: p. 288).

8. Kostenevich/Semenova, p. 22.

9. Ibid., p. 171.

10. See below, n. 14.

11. HM/Mqt, 7.2.12, AMP.

12. Courthion, and Gilot, p. 28 (the piece of silk still exists in the family’s textile collections).

13. HM/MM, 30.7.43, AMP.

14. HM/Mqt, 11.10.13, AMP (previously identified as no. 35, following Flam, p. 499, n. 14, but HM himself always gives no. 38).

15. Courthion, p. 101.

16. HM/Henri Manguin, 1.3.12, Archives Jean-Pierre Manguin, Avignon.

17. Walter Harris/HM, n.d. [Feb. 1912], AMP; see also Matisse Paris 1999, p. 62.

18. Courthion, pp. 102–3.

19. HM/MM, 31.1.12, AMP.

20. HM/AM, 22.10.19, AMP.

21. HM/MM, 31.1.12, AMP, and AM/Jean Matisse, 31.1.13, AMP.

22. Deed of purchase from the Widow Cocurat 3.1.12, AMP (preliminary agreement V. Cocurat/HM, 23.9.11, ibid.).

23. Michael Stein/HM, 11.3.12.

24. HM/Gertrude Stein, 16.3.12, Beinecke.

25. Pierre Loti, “Au Maroc,” in Voyages (1872–1913) (Paris, 1991), p. 170.

26. John Lavery, The Life of a Painter (London, 1940), p. 97; and Walter Harris/HM, n.d. [spring 1912], AMP.

27. PM/HM, 16.11.25, PMP.

28. Walter Harris, Morocco That Was (London, 1921), p. 23; see also A. F. Tschiffely, Don Roberto: Life and Works of R. B. Cunningham Graham (London, 1937). p. 371.

29. Camera Work, no. 38 (April 1912): p. 45.

30. Mqt/HM, n.d. [1912], AMP.

31. HM/AM, 6.4.12, AMP.

32. Lavery, Life of a Painter, p. 83.

33. HM/AM, 5.4 and 6.4.12, AMP.

34. Clive Bell, Old Friends (London, 1956), p. 66.

35. Lavery, Life of a Painter, p. 105, and Walter Shaw-Sparrow, John Lavery and His Work (London, 1921), p. 85.

36. Through the proprietress, Mlle Davin; HM/AM, 31.3 and 1.4.12, AMP.

37. HM/AM, 6.4.12, AMP.

38. Harris, Morocco That Was, p. 293.

39. HM/G. Stein, 22.2.12, Beinecke.

40. Lavery, Life of a Painter, p. 103.

41. Claude Duthuit, “Henri Matisse: Notion du Voyage,” Matisse Paris 1999, p. 263 (“Balek” means “Look out” or “Clear the way”).

42. HM/Mqt, 28.3.12, AMP.

43. This and the next quote from Courthion, p. 102.

44. Information from Claude Duthuit.

45. See John Elderfield, “Matisse in Morocco: An Interpretative Guide,” Matisse 1990, p. 215.

46. Pierre Loti, Roman d’un Spahi (Paris, 1903), pp. 104–5 and 118 (HM cited both novels on different occasions as his source, see Courthion, p. 102, and Fourcade, p. 117).

47. This episode and its aftermath recounted in HM/AM, 3.4, 5.4 and 6.4.12, AMP.

48. HM/AM, 31.3.12, AMP.

49. No Thoroughfare, translated as L’Abîme, HM/AM, 10.4.12, AMP.

50. HM/AM, n.d. [postmark Issy 13.4.12], AMP.

51. HM/AM, 31.3.12, n.d. [12.4.12], and HM/MM, 13.6.40, both AMP; and see The Times, 8.4.12.

52. The Times, 23.4.12; see also Daniel Rivet, Lyautey et l’Institution du Protectorat français au Maroc: 1912–15 (Paris, 1988), p. 127, n. 520.

53. HM/Mqt, 19.8.11 and 14.8.13, and HM/AM, 27.8.13, AMP, and see Spurling, p. 360.

54. Sembat 1913, p. 192.

55. Georgette Sembat/HM, 28.9.12, AMP.

56. Flam 2, pp. 66 and 69.

57. Marcel Sembat, Cahiers Noirs 4e partie, 1911–1913 (Paris, 1985), p. 17.

58. HM/AM, 6.4.12, AMP.

59. Courthion, p. 101.

60. Stein, p. 42.

61. This and the next quote from HM/MM, 12 and 23.2.12, AMP.

62. Postscript by AM to HM/MM, 31.1.12, AMP.

63. Flam 1, p. 252, and see Claude Duthuit et al., Matisse: La Révelation m’est venue de l’Orient, ex. cat. (Musei Capitolini: Rome, 1997), p. 133.

64. Fourcade, p. 204, and Flam 2, p. 116.

65. Kostenevich/Semenova, p. 43.

66. Tugendhold, “S. I. Shchukina,” p. 9.

67. HM/Mgte, 21.11.12, AMP.

68. HM/Jean Matisse, 10.1.13, AMP; and see Matisse 1990, p. 94.

69. HM/MM, 21.11.12, AMP.

70. HM/AM, 25.10.12, AMP.

71. Courthion, p. 103.

72. HM/AM, 25.10 and 2.11.12, AMP.

73. Matisse Paris 1999, p. 230 and p. 235, n. 36.

74. HM/AM, 2.10.12, AMP, and HM/Charles Camoin, 21.10.12, Camoin, p. 34.

75. Camoin, p. 34.

76. Couturier, p. 154.

77. HM/MM, 21.11.12, AMP.

78. See Rémi Labrusse, “L’Epreuve de Tanger,” Matisse Paris 1999, p. 50.

79. Sembat 1913, p. 194.

80. Couturier, p. 154.

81. Matisse Paris 1999, p. 50.

82. HM/AM, 25.10.12, AMP.

83. HM/MM, 21.11.12, AMP.

84. G. Sembat/HM, 12.11.12, AMP.

85. Camoin, p. 63, n. 7.

86. G. Sembat/HM, 12.11.12, AMP.

87. Escholier, p. 106.

88. Claude Duthuit.

89. Escholier, p. 105.

90. Camoin, p. 28.

91. HM/Mqt, March 1945, AMP.

92. HM/Mqt, 8.1.13, AMP.

93. Camoin, p. 36.

94. Camoin, p. 36, and HM/Mqt, 28.12.12, AMP.

95. HM/AM, 25.10.12, and HM/MM, 15.11.12, both AMP.

96. Bell, Old Friends, p. 168.

97. HM/Armand Dayot, 3.11.25, Getty [JC].

98. HM/Henri Manguin, 11.1.13, Archives J-P. Manguin, Avignon.

99. Camoin, p. 41.

100. Matisse 1990, pp. 115 and 150, n. 9.

101. This and the next quote from Tugendhold, “S. I. Shchukina.”

102. HM/AM, 25.10.12, AMP.

103. This and the next quote from HM/AM, 25.10.12, AMP, and see Matisse Paris 1999, pp. 232-33.

104. AM/Jean Matisse, n.d. [11.1.13], AMP.

105. Sembat 1913, p. 192–93.

106. Sembat 1920, pp. 9–10.

107. G. Sembat/HM, 1.10.11, AMP.

108. SS already had Goldfish, Vase of Irises and Amido, with Zorah Debout, The Riffian and two flower paintings due.

109. G. Sembat/HM, 12.11.12, AMP (Pyotr Shchukin died on 25.10.12).

110. SS/HM, 10.10.13, Kostenevich/Semenova, p. 175.

111. Labrusse 3.

112. Georges Flandrin and François Roussier, Jules Flandrin (1841–1947): Un élève de Gustave Moreau témoin de son temps (Paris, 1992), p. 161.

CHAPTER FIVE

1. Janet Flanner, Men and Monuments (London, 1957), p. 108.

2. Press clippings in the Art Institute of Chicago archives, and Barr, p. 150.

3. Milton W. Brown, The Story of the Armory Show (New York, 1988), p. 179.

4. W. Pach/G. Stein, 30.3.13, Beinecke.

5. Sarah MacDougall, Mark Gertler (London, 2002), p. 75.

6. Kostenevich/Semenova, p. 49.

7. SS/HM, 10.10.13, ibid., p. 175.

8. Letter from Neue Kunst to HM, 3.2.14, AMP.

9. Georges Flandrin and François Roussier, Jules Flandrin (1841–1947): Un élève de Gustave Moreau témoin de son temps (Paris, 1992), p. 165.

10. Charles Angrand, Correspondances, 1883–1926 (Paris, 1992), p. 258.

11. Kean, p. 174.

12. HM/G. Stein, n.d. [3-9.13], Beinecke, and P. Picasso/G. Stein, 29.8.13, Richardson, p. 287; see also ibid., p. 281, and Flam 3, p. 152.

13. Sembat 1920, p. 11.

14. Flam 3, p. 152.

15. Camoin, pp. 22 and 56.

16. Reprinted in Camera Work, no. 38 (April 1912): p. 45.

17. Robert Rey, “Une Heure chez Matisse,” L’Opinion, 10.1.14, and see Flam 2, pp. 71–72.

18. Walter Pach, Queer Thing Fainting: Forty Years in the World of Art (New York, 1938), p. 120.

19. Daniel Catton Rich, ed., The Flow of Art: Essays and Criticism of Henry McBride (New York, 1975), p. 41.

20. All quotes in this paragraph are from Rey, “Une Heure chez Matisse,” and see Flam 3, p. 132.

21. HM/Anna Matisse, n.d. [Oct. 1913], AMP.

22. Marcel Sembat, Les Cahiers noirs 4me partie 1911–15 (Paris, 1985), p. 34.

23. HM/MM, n.d. [Nov. 1913], AMP.

24. HM/Anna Matisse, n.d., AMP.

25. HM/Mqt, 11.10.13, AMP.

26. See Flam 1, p. 371.

27. Camoin, p. 57.

28. HM/AM, 17.11.23, AMP.

29. HM/Anna Matisse, n.d., AMP.

30. HM/MM, n.d. [Nov. 1913], AMP.

31. Guillaume Apollinaire, Chroniques d’Art 1902–1918, ed. L. C. Breunig (Paris, 1960), pp. 415 and 419.

32. Pach, Queer Thing Painting, p. 219.

33. Aragon 1, p. 23.

34. Courthion, p. 103; HM’s abortive plans from family correspondence, Camoin, p. 57, and K. H. Osthaus/HM, 15.11.13, AMP.

35. HM/Anna Matisse, n.d. [March 1914], AMP; see also Spurling, p. 273, and Matisse 1993, p. 112.

36. My account of this affair based on Flandrin and Roussier, Jules Flandrin, pp. 165–67, Camoin, pp. 58–59, Escholier, pp. 223–24, and Fernande Olivier, Picasso et ses amis (Paris, 1973), pp. 202–4.

37. Entry for 10.2.14, Cahiers noirs.

38. M. Prichard/I. Stewart Gardner, 24.4.14, Isabella Stewart Gardner Museum, Boston.

39. Labrusse 3, p. 32.

40. Ibid., p. 23.

41. Dialogue recorded by William King, Isabella Stewart Gardner Museum, in Labrusse 3.

42. HM/AM, 31.3.12, AMP.

43. This and the next quote from a dialogue recorded by W. King, 10.1.14, in Labrusse 3.

44. M. Prichard/G. Duthuit, 4.11.13, AMP.

45. HM/MM, n.d. [Nov. 1913], AMP.

46. M. Prichard/Mabel Warren, 7.11.13, in Flam 1, p. 374, and Labrusse 3; my account of the episode, and quotes from HM and Prichard in this and the next paragraph, based on ibid.

47. Transcript by W. King in Labrusse 3.

48. HM/MM&PM, 15.11.12, AMP; and see Labrusse 1, p. 281, n. 201.

49. Labrusse 3, and see Camoin, p. 57.

50. Transcript by W. King in Labrusse 3.

51. My account based on Albert Landsberg’s letter of 30.5.51 to Alfred Barr (text slightly amended in Barr, p. 184) and a memo of February 1981 by Rona Roob, both Barr papers, MoMA.

52. Bernier tapes.

53. A. Landsberg/A. Barr, Barr papers.

54. Labrusse 3.

55. M. Prichard/G. Duthuit, 8.6.14, AMP.

56. Memo by Monroe Wheeler, Barr papers, MoMA.

57. Matisse 1993, p. 114.

58. A. Landsberg/A. Barr, Barr papers.

59. M. Prichard/G. Duthuit, 13.5.14, AMP.

60. This and the next quote from A. Landsberg/A. Barr, Barr papers.

61. W. Pach/HM, 7.7.16, AMP.

62. Prichard to Francis Burton Smith, printed as an addendum to Henri Matisse, ex. cat. (Montross Gallery: New York, 1915), in a copy kindly shown me by J. D. Flam; see also Labrusse 1, pp. 115 and 281, n. 207.

63. John Lukacs, Philadelphia: Patricians and Philistines (New York, 1980), p. 288.

64. Kostenevich/Semenova, p. 176.

65. Flandrin and Roussier, Jules Flandrin, p. 173.

66. Archives J-P. Manguin, Avignon.

67. Bernier tapes.

68. HM/Anna Matisse, 21.8.14, AMP.

69. André Level, Souvenirs d’un collectionneur (Paris, 1959), pp. 37-38 and 49.

70. Yves Flamand, Fresnoy-le-grand (St-Quentin, 1992); further information from Elie Fleury, Sous la Botte: Histoire de la ville de St Quentin pendant l’occupation Allemande, Aout 1914-Fevrier 1917 (St-Quentin, n.d.); Michel Dutoit, ed., Sur les traces de la Grande Guerre dans la région de St Quentin (St-Quentin, 2000), and A. Ozenfant, Mémoires 1886-1962 (Paris, 1968), pp. 81-82.

71. HM/AM, 28.9.14, AMP.

72. HM/AM, 25.9.14, AMP.

73. HM/AM, 7.6.18, AMP.

74. D. Cooper, ed., The Letters of Juan Gris (London, 1956), p. 12.

75. Aragon 1, p. 303.

76. This and the next two quotes from HM/AM, n.d. [Oct. 1914], AMP (Adolphe Basler was Polish, Eli Nadelman Russian, Rudolf Levy and Wilhelm Uhde both German).

77. HM/AM, Friday, n.d. [Oct. 1914], AMP.

78. “Testimony against Gertrude Stein,” transition, vol. 23, no. 1, supp. (February 1935): p. 7; further information from HM’s correspondence with his wife, and J. Gris/G. Stein, 19 and 26.10.14 and December 1914, Beinecke.

79. HM/AM, n.d. [autumn 1914], AMP.

80. HM/AM, Tuesday, n.d. [autumn 1914], AMP, and Kostenevich/Semenova, p. 177.

81. W. Pach/HM, 25.8.14, AMP; further information from HM’s letters to AM.

82. M. Stein/W. Pach, in John Cauman, “Henri Matisse’s letters to Walter Pach,” Archives of American Art Journal, vol. 31, no. 3 (1991): p. 3.

83. W. Pach/HM, 19.1.15, AMP, and see Barr, p. 186.

84. Pach, Queer Thing Painting, pp. 145–46; further information from HM’s letters to his wife.

85. HM/AM, Friday, n.d. [27.10.14, placed first in file] and 11.11.14, AMP.

86. HM/AM, 23 and 24-25.10.14, AMP.

87. Camoin, p. 67.

88. Information from Claude Duthuit; my account of this episode based also on Bernier tapes, and HM/PM, 4.11.39, PMP.

89. This and the next quote from HM/AM, n.d. [Oct. 1914], AMP.

90. HM/AM, n.d. [31.10.14], AMP.

91. J. Puy/HM, 18.10.14, AMP.

92. Camoin, p. 67, and see Escholier, p. 112.

93. Flam 1, p. 403.

94. Pach, Queer Thing Painting, p. 146.

95. Camoin, p. 67, and see Matisse 1993, p. 115.

96. A. Breton/J. Doucet, 12.4.23, in François Chapon, Mystères et splendeurs de Jacques Doucet, 1833-1929 (Paris, 1984), p. 293.

97. Camoin, p. 68.

98. J. Puy/HM, 15.1.15, AMP.

99. M. Warren/HM, 10.1.16, AMP.

100. HM/J. Doucet, 7.6.15, Fonds Louis Vauxcelles, Paris [JC].

101. J. Puy/HM, n.d. [1915], AMP.

102. Ibid., 25.10.15, AMP.

103. Camoin, pp. 77–78.

104. Camoin, p. 86.

105. J. Puy/HM, 14.2.15, AMP.

106. Camoin, p. 78, and HM/R. Jean, 1.10.15, JC, MoMA.

107. Camoin, p. 79.

108. Camoin, p. 83.

109. This and the next quote from HM/W. Pach, 20.11.15, in Cauman, “Matisse’s Letters to Pach,” p. 5.

CHAPTER SIX

1. Gino Severini, Ecrits sur l’art (Paris, 1987), p. 276; all other quotes from Severini in this and the next two paragraphs from ibid, unless otherwise attributed.

2. Gowing, p. 128.

3. Gino Severini, La Vita d’un pittore (Milan, 1983), p. 193.

4. HM/Camoin, 19.1.16, Camoin, p. 95.

5. HM/René Jean, Jan. 1916, JC.

6. HM/Mqt, Friday, n.d. [Dec. 1916], AMP.

7. HM/Derain, n.d. [Feb. 1916], JC.

8. HM/AR, n.d. [June 1943], Finsen, p. 269.

9. HM/PM, 20.5.41, PMP.

10. PM/HM, 8.2.27, PMP.

11. W. Pach/HM, 22.1.15, AMP; for the acquisition of Cezanne’s Bathers, see Spurling, pp. 181–82.

12. HM/MM, n.d. [5.11.13], AMP; my account of MM’s schooling is based on her correspondence with HM, and on information from LD, and from Wanda de Guébriant.

13. Schneider, pp. 486 and 493, n. 67.

14. Gilot, p. 319.

15. MM/HM, 20.5.43, AMP.

16. HM/A. Derain, n.d. [Feb. 1916], JC; I am grateful to Claude Duthuit, and to Dr. Stanley Blaugrund of New York, for information about the treatment and consequences of tracheal damage.

17. HM/Anna Matisse, n.d. [March 1914], AMP; my account of Jeans career is based on information from Claude Duthuit, and from the late Marie Matisse.

18. Bernier tapes: all PM quotes come from these tapes unless otherwise attributed. (Purchase of violin in PM/HM, n.d., 1921, PMP.)

19. Escholier, p. 119.

20. Information from Claude Duthuit.

21. HM/MM, n.d. [autumn 1912 and Jan. 1914], AMP.

22. Bernier tapes.

23. Information from John Golding and Robert Hughes.

24. Barr, p. 174.

25. W. Churchill, The World Crisis 1911-1918 (London, 1939), vol. 2, p. 993.

26. Matisse 1993, chronology by Claude Laugier and Isabelle Monod-Fontaine (establishing the recipient of this letter wrongly identified by Barr, p. 181–82, as Purrmann), p. 119; and see Escholier, p. 181.

27. A. Ozenfant, Mémoires (Paris, 1931), p. 216.

28. Severini, Ecrits sur l’art, p. 278.

29. Frank Trapp, “Form and Symbol in the Art of Matisse,” Arts Magazine, no. 49 (May 1975): p. 56.

30. L. Rosenberg/P. Picasso, 25.11.15, JC.

31. Catherine C. Bock, “Henri Matisse’s Bathers by a River,” Art Institute of Chicago Museum Studies, vol. 16, no. 1 (1990): p. 55.

32. R. Fry/V. Bell, 3.7.16, Letters of Roger Fry, ed. D. Sutton (London, 1972).

33. Axel Salto, Klingen, vol. 1, no. 7 (April 1918), trans. Scott de Francesco, JC.

34. Schneider, p. 178. HM’s term was “Cubistons.”

35. G. Duthuit/AM, 1.2.19, AMP.

36. Information from the late Marie Matisse.

37. HM/PM, 1.9.40, PMP.

38. Camoin, p. 87.

39. M. Prichard/HM, 5.7.18, AMP.

40. Aragon 1, p. 23.

41. M. Prichard/HM, 5.6.17, AMP.

42. Michel Dutoit, “Histoire de Bohain: La guerre 1914–18,” pp. 8–13, ts.; my account is based on this and other material kindly supplied by G. Bourgeois, including André Lefevre, “Guerre 1914–1918,” ms.; and on detailed recollections in Auguste Matisse/HM, 21.6.36, AMP.

43. Severini, La Vita d’un pittore, p. 193.

44. W. Halvorsen, “In memoriam,” Dagblad, Oslo, 4.11.1956, JC.

45. HM/W. Pach, 6.11.16, John Cauman, “Henri Matisse’s Letters to Walter Pach,” Archives of American Art Journal, vol. 31, no. 3 (1991): p. 6.

46. HM/Camoin, 22.11.15, Camoin, p. 91.

47. Matisse 1993, p. 118.

48. Emile Lejeune, “Montparnasse a l’époque heroïque,” Tribune de Genève, 8–9.2.64, JC; this account based on Lejeune’s memoirs, serialised ibid., 25.1–6.2.64.

49. Louise Favre-Favier, Souvenirs sur Apollinaire (Paris, 1945), pp. 163–65.

50. Marie Vassilieff, “La Bohème du 20e siècle,” 1929, ts. kindly supplied by Claude Bernés, and Couturier, p. 133.

51. Halvorsen, “In memoriam.”

52. HM/AM, 20.1 and 11.2.19, and A. Pellerin/HM, 6.2.19, AMP; see also Spurling, p. 230.

53. H. Pearl Adam, Paris Sees It Through (London, 1919), p. 175.

54. HM/P. Rosenberg, 12.1.17, Pierpont Morgan Library, New York.

55. G. Prozor/MM, n.d. [1915], AMP.

56. Schneider, p. 339, n. 35.

57. Entry in HM’s notebook, AMP.

58. Aragon 1, p. 236, n. 2, see chap. 1, pp. 23–24.

59. J. Puy/HM, Christmas 1916, AMP.

60. HM/P. Rosenberg, 12.1.17, Pierpont Morgan Library, New York.

61. C. Monet/G. Bernheim-Jeune, 28.11.16, Archives Bernheim-Jeune, Paris, and D. Wildenstein, Monet: Biographie et catalogue raisonné, vol. 4, 1899–1926 (Paris, 1985), p. 72, n. 643, JC.

62. I am grateful to Wanda de Guébriant for confirming that HM’s first purchase of a Courbet from Bernheim-Jeune on 28.11.16 was followed by a Snowscape on 15.1.17, La Demoiselle de la Seine on 5.3.17, La Blonde endormie on 13.8.17 and a seascape on 17.8.17; see also Matisse 1993, pp. 121 and 123; and Walter Pach, Queer Thing Painting (New York, 1938), p. 122.

63. HM/W. Pach, 14.12.16, “Matisse’s Letters to Walter Pach,” p. 8; and see Spurling, p. 96.

64. Spurling, p. 243.

65. Information from LD.

66. HM/Camoin, n.d. [summer 1917], Camoin, p. 105.

67. HM/AM, 21.12.17 and n.d. [Dec. 1917], AMP, and HM/A. Rouveyre, 23.12.17, Finsen, p. 29.

68. Matisse 1999, pp. 142–43.

69. Camoin, p. 105, and Flam, p. 505, n. 23.

70. Schneider, p. 490.

71. HM/Camoin, 2.5.28, Camoin, p. 121.

72. Schneider, p. 493, n. 87.

73. Georges Flandrin and François Roussier, Jules Flandrin, 1871–1947 (Paris, 1992), pp. 23, n. 20,189 and 245.

74. HM/AM from Marseilles, 15.12.17, AMP; my account of HM’s arrival in the south is based chiefly on letters to his wife.

75. HM/AM, 15.12.17, AMP.

76. HM/AR, 23.12.17, Finsen, p. 29 (AR had introduced HM to the commandant, Capt. Pégat, via Capt. Lassalle, a protégé of the collector Ellissen, HM/AM, 16.12.17, AMP).

77. HM/AM, 21.12.17, AMP.

78. HM/AM, 31.12.17, AMP; HM/AR, Finsen, p. 30. Camoin/HM, 17.1.18, Camoin, p. 109.

79. Previous commentators have confidently cited many different dates for HM’s arrival in Nice, but 25 December is the date he himself gave in HM/AR, 23.12.17, Finsen, p. 29.

80. HM/AM, 31.12.17, AMP; and see Spurling, pp. 20 and 170, and Fourcade, p. 123, n. 82.

81. Fourcade, p. 123, n. 82.

82. HM/AM, n.d. [26.1.18], AMP (Joe Janette defeated the French champion Georges Carpentier on 21.3.14); for the fullest account, and identification of pictures in Guillaume’s show, see Anne Baldassari, Matisse/Picasso Paris, pp. 361-65.

83. HM/Mqt, Monday evening, n.d. [Feb. 1918], AMP.

84. Fourcade, p. 123.

85. HM/Mqt, Monday evening, n.d. [Feb. 1918], and HM/AM, 13.1.18, AMP; and Matisse Sculpture, pp. 179 and 258, n. 18.

86. HM/Camoin, 10.4.18, Camoin, p. 115.

87. MM/HM, 19.5.43, AMP.

88. Flam 1, p. 474.

89. Schneider, p. 339, n. 37; and see Copenhagen cat., pp. 300–1, and Flam 2, p. 75.

90. Interview with Ragnar Hoppe in Flam 3, p. 172.

91. Escholier, p. 119.

92. HM/Rouveyre, 3.3.18, Finsen, p. 31.

93. Mqt/HM, n.d. [spring 1918], AMP.

94. Salto, “Henri Matisse.”

95. HM/Mqt, 3.4.18, AMP.

96. HM/AM, 7.5.18, AMP.

97. Jean Cassarini, Matisse à Nice (Nice, 1984).

98. HM/AM, 1.6.18 and n.d. [7 June] 1918, AMP.

99. HM/AM, Tuesday, n.d. [11 June] 1918, AMP.

100. Bernier tapes.

101. HM/AM, n.d. [June 1918], AMP.

102. HM/MM, 14.6.18, and HM/AM, n.d. [10.6.18], AMP.

103. HM/AM, 13.1.18, and Auguste Matisse/HM, 21.6.36, AMP.

104. HM/AM, n.d. [spring 1918], AMP.

105. HM/AM, 16.7.18, and HM/Mgt, 10.7.18, AMP.

106. HM in Cherbourg to AM, n.d. [13,16 and 19 Sept. 1918], AMP; and HM/AR, 21.9.18, Finsen, p. 32.

107. Gabriel Hanotaux, L’Aisne pendant la grande guerre (Paris, 1919), p. 74.

108. Anna Matisse/HM, n.d. [winter 1918] and Auguste Matisse/HM, 21.6.36, AMP; my account of conditions in Bohain is based on these recollections, and see p. 478, n. 70 above.

109. Anna Matisse/HM, n.d. [winter 1918], AMP; and see Schneider, p. 735.

110. Gilot, p. 319.

111. Escholier, p. 177; Barr and others have claimed that HM was in the south at this point, but his first letter to his wife from Nice (HM/AM, 22.12.18, AMP) makes it clear that he reached Marseilles from Paris on 20 December.

CHAPTER SEVEN

1. Escholier, p. 208; my reconstruction of relations with Renoir is based chiefly on HM’s account in letters to AM, and to Courthion, pp. 70–74, which radically modifies the standard view based on Besson’s recollections in “Arrivée de Matisse à Nice,” Le Point, vol. 4, no. 3, 21.7.39, PP. 39–44.

2. This and the next quote from Frank Harris, “Henri Matisse and Renoir,” Contemporary Portraits, 4th Series (New York, 1923), pp. 140 and 142; and see Jean Renoir, My Father (London, 1962), pp. 393–400.

3. Ronald Bergen, Jean Renoir: Projections of Paradise

(London, 1992), p. 60.

4. G. Besson, “Matisse et Renoir, il y a 35 ans,” in Les Lettres françaises, Dec. 1952; HM’s account in HM/AM, 31.12.17 and 9.5.18, AMP.

5. HM/AM, 9.5.18; see also ibid., 11–12.3 and 5.5.18, AMP.

6. HM/AM, 23.6.18, AMP.

7. HM/W. Halvorsen, 20.4.18, JC, and see ibid., 12.4.18; the lunch took place on 11.3.18.

8. Escholier, p. 208.

9. Barr, p. 196.

10. Courthion, pp. 71–72.

11. HM/AM, 16.12.17, AMP.

12. HM/JM, n.d. [1921], AMP.

13. Francis Careo, L’Ami des Peintres (Paris, 1953), p. 227.

14. George Besson, Artistes et compagnie (Paris, 1925), p. 389.

15. HM’s text on Renoir written for Walter Halvorsen, Modern French Painting, ex. cat. (Kunst-nerforbundet: Oslo, 1918), p. 290, JC; and see Flam 3, p. 172.

16. W. Halvorsen, “Exposition Braque, Laurens, Matisse, Picasso à Oslo, Stockholm, Copenhague,” Cahiers d’Art, nos. 6–7 (1937): p. 218, JC.

17. See Kaspar Monrad, “Christian Tetzen-Lund (1852–1936),” Matisse 1999, pp. 142–46 (Tetzen-Lund’s principal modern-art contacts were Ludvig Karsten and Halvorsen, both of whom had studied at Matisse’s school).

18. HM/AM, 18.1.18, AMP.

19. HM/AM, 12 and 31.4.20, AMP, and information from Natalya Semenova; see also Kean, pp. 232–34, and Barr, p. 180.

20. HM/AM, 13.1.19, AMP.

21. Barr, p. 206.

22. Flam 3, p. 173.

23. HM/AM, 7.1.19, AMP.

24. HM/AM, 5.5.19, AMP.

25. François Chapon, Mystère et splendeur de Jacques Doucet, 1853–1929 (Paris, 1984), p. 293.

26. Dr. Sébillan/Dr. Vannier, 30.3.19, AMP; family letters and correspondence with doctors (e.g., HM/Dr. Desjardins, 23 and 28.5.19) in AMP; once again, I am grateful to Dr. Stanley Blaugrund for clarifying the surgical background.

27. HM/MM, Friday, n.d. [May 1919], AMP; the operation probably took place on Wednesday, 21.5.19.

28. MM/AM, 27.10.20, AMP.

29. Courthion, p. 73.

30. Flam 3, p. 172.

31. MM/AM, 17.4.23, AMP.

32. Richard Buckle, Diaghilev (London, 1979), p. 379.

33. Courthion, p. 87; see also ibid., p. 80, and Michel Georges-Michel, Ballets Russes: Histoire anecdotique (Paris, 1923), p. 31.

34. Courthion, p. 82; my reconstruction of this affair is based primarily on HM’s own account in daily letters to his wife, slightly modified in his subsequent recollections to Courthion.

35. Courthion, p. 78.

36. HM/AM, Tuesday, n.d. [28.10.19], AMP.

37. HM/AM, 18.10.19, AMP.

38. Harris, Contemporary Portraits, p. 138.

39. HM/AM, Friday evening, n.d. [17.10.19], AMP, and Courthion, p. 82.

40. Buckle, Diaghilev, p. 360.

41. Courthion, p. 80; I have pieced together the effect of this décor from HM’s descriptions to his wife (n.d. [27.10.19], AMP), to the author of “Le Décor au théâtre: une enquête,” Bulletin de la vie artistique, no. 4, 15.1.20, pp. 99–100, and to Courthion; three of these costumes, in the possession of the National Gallery of Australia, Canberra, reproduced in Matisse 1995, nos. 88–90, pp. 210—11.

42. Georges-Michel, Ballets Russes, p. 31.

43. This and the previous quote from HM/AM, 22.10.19, AMP.

44. Courthion, p. 87.

45. Oliver Brown, Memoirs (London, 1966), p. 65; this account based on ibid., pp. 65–67; HM/AM, Saturday and Monday, n.d. [15 and 17.11.19], AMP; and Kenneth Clark, Another Part of the Wood (London, 1974), p. 77.

46. HM/AM, Friday evening, n.d. [21.11.19], AMP; the story of this curtain told in consecutive letters to AM, 15–21.11.19, and Courthion, pp. 84-85.

47. MM/HM, 22.2.20, AMP.

48. Courthion, p. 89; previous accounts, following Barr, p. 197, state that HM missed the first night at the Opéra, attending the London opening instead, but HM himself said he was present (Courthion, p. 82, and Masson, p. 89) and his contract with Diaghilev (dated 5.11.19, AMP) stipulated a week in Paris leading up to the dress rehearsal (by the time of the London opening on 16 July he was, in any case, in Etretat). Alicia Markova’s subsequent claim that HM redesigned her Rossignol costume for George Balanchine’s revival in Paris in 1925 (Buckle, Diaghilev, p. 455) also seems to have been mistaken (when HM eventually saw the revival at Monte Carlo, he was appalled at the mess made of his décor and costumes, HM/AM, n.d. [summer 1928], and Courthion, p. 88).

49. MM/HM, 27.2.20, AMP.

50. HM/AM, 7.3.20, AMP.

51. HM/MM, 25.2.20, AMP.

52. MM/HM, n.d. [Apr. 1920].

53. PM/HM, 12.12.53, PMP, and see Spurling, p. 47 (the two pictures were included in HM’s Bernheim-Jeune show, 15.10–6.11.20).

54. HM/J. Romains, 20.7.20, JC.

55. Etta Cone’s notes, Cone Archives, Baltimore Museum of Art.

56. 28.9.20, Fry, vol. 2, pp. 491–92.

57. MM/HM, 19.11.20 and 7.1.22, AMP.

58. HM/AM Monday, n.d. [Sept. 1920], AMP (the picture is Large Cliff: Fish, Baltimore Museum of Art).

59. MM/HM, n.d. [Nov. 1920], AMP.

60. MM/AM, 27.10.20, AMP.

61. MM/HM, 27.11.20, AMP.

62. JM/HM, 5.12.21, AMP.

63. HM/AM, 11.12.19 and 11.1.20, AMP.

64. Richard J. Wattenmaker et al., Great French Paintings from the Barnes Collection, ex. cat. (New York, 1993), p. 264, and Schneider, p. 452; MM’s responses in MM/AM, Monday, n.d. [spring 1921], and MM/HM, 21.4.20 and 27.3.23, AMP.

65. Charles Vildrac, Nice 1921–16 réproductions d’après les tableaux d’Henri Matisse (Paris, 1922), in Flam 3, p. 202.

66. “Notes of a Painter on His Drawing,” Flam 2, p. 132, Fourcade, p. 163.

67. MM/AM, 15.3.21, AMP.

68. HM/AM, Thursday morning, n.d. [spring 1921], AMP.

69. HM/AM, 28.10.23, AMP.

70. HM/Mqt, 22.3.19, AMP.

71. Courthion, p. 125, HM/PM, 19.12.25, PMP, and LD 1, p. 25.

72. MM to Wanda de Guébriant.

73. HM/AM, 29.12.20 and 6.1.21, AMP.

74. MM/AM, 28.1.21, AMP.

75. MM/AM, 16.3.21, AMP.

76. MM/AM, 29.1.21, AMP.

77. HM/AM, 16.2.21, AMP.

78. MM/AM, n.d. [Feb-March 1921], AMP.

79. HM/AM, 1.1.19, AMP.

80. MM/AM, 15.3.21, and n.d. [22 and 29.3.21], AMP.

81. MM/AM, 7.4.21, AMP.

82. HM/AM, n.d. [April 1921]; HM’s four notes to AM describing this encounter with Diaghilev are undated, but he drew Prokofiev on 25.4.21, Buckle, p. 381.

83. HM/MM, 14.11.21, AMP.

84. HM/MM, n.d. [Nov. 1921], AMP.

85. HM/W. Pach, 7.9.21, John Cauman, “Henri Matisse’s letters to Walter Pach,” Archives of American Art Journal, vol. 31, no. 3 (1991): p. 10.

86. HM’s transformation of this flat documented in daily bulletins to AM in September; see also Jack Cowart’s pioneering chronology, 1916–32, in Matisse 86, pp. 15–45 (Cowart’s dates are provisional, and his speculative diagram on p. 30 adds substantially to the “two rooms” specified by HM); for further attempts to clarify the successive stages of HM’s occupation of this building, see and chap 8, p. 483, n. 32.

87. HM/AM, 31.8.21, AMP.

88. HM/AM, 5.9.21, AMP, and PM/HM, 2.10.21, PMP.

89. In Flam 3, pp. 171–74.

90. HM/AM, n.d. [autumn, ?1921/1923], AMP.

91. Flam 3, p. 230.

92. HM/AM, 7.3.20, AMP (regular visits to Cagnes mentioned in correspondence, e.g., HM/PM, 20.4.25, PMP).

93. HM/AM, Monday evening, 9 p.m., n.d. [1922], AMP.

94. HM/AM, Tuesday, 9 p.m., n.d. [May-June 1922], AMP.

95. Flam 2, p. 131, and Fourcade, p. 162.

96. Information from Wanda de Guébriant.

97. AM/MM, Thursday 22 [Feb. 1923], AMP.

98. AM/MM, n.d. [?Feb. 1923], AMP.

99. HM/AM, 26.12.22, AMP.

100. HM/MM, 28.11.21, AMP.

101. Camoin, p. 114; contrary to the general assumption (see Flam 1, p. 12), abstinence seems to have been HM’s rule so far as his models were concerned. I am grateful to J. D. Flam for a detailed discussion of this subject over many years, and for confirming that the only contradictory evidence in his possession came from the American artist Sidney Geist, on the strength of an encounter in Paris in 1949 with a woman whose name he didn’t know, who claimed to have modelled for, and slept with, Matisse at an unspecified time (probably the 1920s) and place (possibly Paris). I can find no specific instance involving successive known models to support this anonymous assertion, see, e.g., pp. 240–41; 348 and 486, n. 85; 356–57 and 365–66.

102. LD in conversation with HS.

103. Jules Romains, Amitiés et rencontres (Paris, 1970), p. 93.

104. HM/AM, 6.9.21, AMP.

105. HM/MM, 14.11.21, AMP.

106. HM/AM, 14.11.21, AMP.

107. H. Darricarrère/MM, 28.2.23, AMP.

108. PM/HM, 25.1.22, PMP.

109. MM/HM, 30.12.21 and 4.1.22, AMP.

110. MM/HM, 11.1.22, AMP.

111. MM/HM, Lundi de Paques, 1923, AMP.

112. HM/AM, 3.5.18, AMP.

CHAPTER EIGHT

1. J. Sacs, Enric Matisse i la Critica, II (pseudonym Felius Elies), Vell i Nou, Barcelona, vol. 5, no. 102, 1.11.19, in Flam 2, p. 56.

2. “Protest Against the Present Exhibition of Degenerate ‘Modernist’ Works in the Metropolitan Museum of Art,” Sept. 1921, JC, and Barr, p. 198.

3. HM/AM, 31.12.19, AMP.

4. HM/AM, 11.10.25, AMP (of the journalists Jacques Guenne and Florent Fels).

5. Sembat/P. Signac, 20.3.22, Archives Signac, Paris.

6. MM/AM, 16.1.23, AMP, and information from Wanda de Guébriant (MM acted as an executor, helping to sort out and clear up the joint estate).

7. AM/MM, n.d. [Aug. 1924], AMP (Sarah Stein was regularly invited to the annual family picture shows, and her response reported by MM to HM in Nice).

8. See Kasper Monrad, “Christian Tetzen-Lund” and “Johannes Rump,” in Matisse 1999.

9. François Chapon, Mystère et splendeur de Jacques Doucet, 1853–1919 (Paris, 1984), pp. 293–94.

10. J. Quinn/HM, 20.1.21, AMP (for Quinn’s dealings with HM, see his correspondence with Walter Pach in the New York Public Library, and with Henri-Pierre Roché in the Harry Ransom Research Center, University of Texas, Austin).

11. HM/AM, 25.11.23, AMP.

12. HM/AM, n.d. [Nov. 23] AMP.

13. MM/AM, 7.2.23, AMP; my account of GD based primarily on information from Claude Duthuit; GD’s published works, especially the texts collected by Rémi Labrusse in his invaluable Ecrits sur Matisse; supplementary unpublished correspondence with HM and others in AMP; and on the catalogue essays by Claude Duthuit and Rémi Labrusse in Autour de Georges Duthuit, ex. cat., Galérie d’Art du Conseil générale des Bouches-du-Rhône: Aix-en-Provence, 2003.

14. Labrusse, Autour de Georges Duthuit, p. 61.

15. Georges Duthuit, Les Fauves (Geneva, 1949), p. 13.

16. GD/HM, 13.4.26, AMP, see Duthuit, p. 222.

17. M. Prichard/I. Stewart Gardner, 6.6.22, Isabella Stewart Gardner Museum, Boston.

18. GD/JM, Dec. 1923, AMP.

19. Duthuit, Les Fauves, p. 222.

20. HM/AM, Sunday, 3 p.m., n.d. [Oct. 1923], AMP.

21. HM/AM, Wednesday evening, n.d. [1923], AMP.

22. My account of this affair is based primarily on family correspondence, on interviews with the late Mme Clorinde Peretti-Landard in Nice in 1993, and with her college contemporary Mme Rosine Gaudiani in Ajaccio in 1992, and on Bernier tapes.

23. HM/AM, 17.11.23; and see R. P. Couturier, La Vérité Blessée (Paris, 1984), p. 287.

24. Previous accounts are based on a misunder-standing of a letter from Michael Stein to Etta Cone, 17.12.23, describing the small family lunch party after the civil ceremony and leaving out the subsequent party described at length in family correspondence.

25. AM/MM, 11.12.23, AMP.

26. HM/AM, 27.12.23, AMP, and Man Ray, Self Portrait (New York, 1988 [1963]), p. 170.

27. AM/MM, 26.12.23, AMP.

28. AM/MM, 28.12.23, AMP.

29. HM/AM, Wednesday evening, n.d. [end 1923], AMP.

30. The portrait was completed in four afternoon sessions in March described in HM/AM, n.d. [March 1924], AMP; HM’s imitations in AM/MM, n.d. [Apr. 24], AMP; see also Matisse 1989, p. 72.

31. AM/MM, n.d. [May 1924], AMP.

32. AM/MM, n.d. [Apr. 1924], AMP. Previous accounts of HM’s successive moves in Nice have followed Cowart in Matisse 1986, pp. 15–46, based on deduction and inference from municipal records, but Cowart takes no account of the complex system of sub-letting practised by the tenants of 1 Place Charles Félix. Family correspondence makes it clear that HM rented the third-floor corner flat from Sept. 1921 from Mlle Valentine Bouvanier (subsequently Mme Stella), renting a fourth-floor flat (which he used as living quarters) directly above the first from the journalist Georges Maurvret for 3,500 francs per year from September 1924, and going on to acquire Maurvret’s own fourth-floor flat next door three years later. Contrary to the general assumption, he continued working on the third floor until his fourth-floor double studio was done up in 1928; see also p. 482, n. 86, and pp. 293–94.

33. MM/AM, Thursday, n.d. [spring 1924], AMP.

34. GD/HM, 27.6.25, AMP.

35. My account of this affair based on AM/MM, n.d. [28.6.24], HM/AM, n.d. [Dec. 1922], MM/HM, 11.1.25, E. Faure/HM, 7.12.21, all AMP, and information from Wanda de Guébriant; see also Elie Faure/W. Pach, 27.9.21 and 21.3.22, JC.

36. HM/AM, n.d. [Feb. 1924], PMP; my account is based on information from the late Mme Lan-dard, family correspondence and Bernier tapes.

37. John Russell, Matisse Father and Son (New York, 1999), p. 25.

38. HM/MM, n.d. [May 1924].

39. B. Parayre/C. Peretti, 28.6.24, kindly given me by the recipient.

40. All previous accounts date this Italian trip to 1925, but I am grateful to Wanda de Guébriant for confirming that family correspondence puts it firmly in the late summer of 1924.

41. Information from Mme Landard (who went on to become a champion tango dancer, and also showed me photos of her backflips).

42. HM/AM, n.d. [Dec. 1924], AMP, and HM/PM, 17.11.48, PMP.

43. MM/HM, 21.3.25, AMP.

44. Mme Landard to HS.

45. MM/HM, 22.12.24, AMP.

46. HM/AM, n.d. [autumn 1924], AMP.

47. This and the next quote from HM/AM, 16.11.24, AMP; see also PM/AM, n.d. [Dec. 1924], and 25.6.25, PMP.

48. This account based on information from Claude Duthuit (half the engravings came from HM, half from MM), and from HM’s correspondence.

49. HM/AM, n.d. [Dec. 1924], AMP.

50. PM/HM, 13.12.24, PMP.

51. Information from Paul Matisse.

52. MM/AM, 13.1.23, AMP.

53. MM/PM, 28.12.24, PMP.

54. MM/HM, n.d. [Feb. 1925] and 3.3.25, AMP.

55. MM/HM, 18.11.25, AMP.

56. MM/AM, 1.2.23, AMP.

57. Note inserted by GD in MD/PM, 24.1.25, AMP.

58. MM/HM, 9.4.25, AMP.

59. Dominique Fourcade, “An Uninterrupted Story,” Matisse 1986, p. 52.

60. HM/AM, n.d. [Feb. 1924], AMP.

61. I am grateful to Wanda de Guébriant for this insight derived from Marguerite Matisse.

62. HD’s concert took place in the Salle des Fêtes de Savoie on 6.5.23; my account of it is based on HM’s letters to his wife, hers to Marguerite, and a letter from Henriette to Marguerite, 28.2.23, AMP.

63. HM/AM, n.d. [March 1924]; HM also transferred to Mme Spinelli.

64. Henriette’s history as a painter is based on an interview with Claudie Plent, Nice-Matin, 16.11.54, and Matisse family correspondence.

65. Henriette Darricarrère/MM, 28.2.23, AMP.

66. HM/AM, n.d. [autumn 1923-24].

67. Fourcade, “An Uninterrupted Story,” p. 57.

68. Flam 5, p. 127; and see Flam 1, p. 480.

69. Catherine C. Bock, “Woman before an Aquarium and Woman on a Rose Divan: Matisse in the Helen Birch Bartlett Memorial Collection,” Museum Studies, vol. 12, no. 2, Art Institute of Chicago, 1986, pp. 209 and 211.

70. “Le Surréalisme et la peinture,” part 2, La Révolution surréaliste, no. 6, 1.3.26; and see ibid., no. 4, 15.6.25.

71. HM/MM, 24.4.25, AMP.

72. HM, 5.7.25, AMP; see Matisse Sculpture, pp. 261–26, n. 24, for family correspondence which invalidates the chronology generally assigned to this piece; and see pp. 282–84 above.

73. GD/HM, 2.9.25, AMP, in Duthuit, p. 219; see also ibid., 23.9.35, AMP, Duthuit, p. 273.

74. MM/HM, 28.4 and 2.5.25, AMP.

75. Russell, Father and Son, p. 47.

76. Duthuit, pp. 215 and 316, n. 14.

77. My account of this trip is based on JM/GD, n.d. [summer 1925], and HM/AM, 27.11.25, AMP, and Les Confidences de Youki (Paris, 1957), p. 38; and see Spurling, pp. 106–7.

78. MM/HM, n.d. [Apr. 1925], AMP.

79. JM/GD, 27.5.24, AMP.

80. AM/MM, Saturday afternoon, n.d. [Sept. 1925, filed under 1926], AMP.

81. MM/HM, 5 and 21.3.25 and Monday, n.d. [Dec. 1925]; Clorinde, whose pride forbade her to touch the Matisses’ allowance, found successive jobs in a couture house in Paris and as a schoolteacher.

82. AM/PM, 12.11.25, PMP.

83. Mme Landard to HS.

84. PM/HM, 27.10.25, PMP.

85. PM/AM, 16.10.25, PMP.

86. HM/AM, n.d. [Oct. 1925], AMP.

87. HM/AM, 18.11.25, AMP.

88. AM/MM, n.d. [autumn 1925], AMP.

89. HM/MM, 4.1 and 13.6.26, AMP.

90. PM/HM, 9.1.26, PMP (PM sold this painting to the President of the Chicago Arts Club, PM/HM, 27.1.26, PMP).

91. Duthuit, Les Fauves, p. 52, and see p. 220.

92. GD/HM, 13.4.26, AMP; see Duthuit, pp. 221–28, for a slightly abbreviated version.

93. HM/MM, 11.5 and 21.6.26, AMP; the introduction was to Mme Jeanne at Worth.

94. Duthuit, p. 289.

95. HM/MM, 20.6.26, AMP; HM’s progress reports on this piece 1922–29 in Matisse Sculpture, pp. 261–62, n. 24.

96. HM/AM, Sunday, 5 p.m., n.d. [March 1929], AMP.

97. Leo Stein, Appreciations: Painting, Poetry and Prose (New York, 1947), p. 125.

98. In Matisse 1986, p. 56.

99. Jules Flandrin/Félix Jourdan, 7.6.26, Georges Flandrin and François Roussier, Jules Flandrin (1871–1947): Un élève de Gustave Moreau témoin de son temps (Paris, 1992), p. 228 (the wallpaper was in fact a textile, see Matisse/Picasso, p. 223).

100. JM/MM, n.d. [Apr. 1926], AMP.

101. MM/HM, n.d. [Sept.-Oct. 1926], AMP.

102. HM/MM, 20.6.26, AMP.

103. HM/AM, 14.9.26, AMP (the price of 300,000 francs also included La Chaise Lorraine aux pêches and a Nude).

104. MM/HM, n.d. [Oct. 1926], AMP.

105. GD/HM, 9.9.26, AMP, in Duthuit, p. 235.

106. For the text of this lecture, “Les Tableaux qui nous entourent ce soir… ,” see Duthuit, pp. 47–69.

107. Ibid., p. 283.

108. Ibid., p. 50.

109. Matisse Picasso 2002, p. 223; for Guillaume’s precautions, see Duthuit, p. 235.

110. PM/HM, n.d. [mid-Nov. 1926], PMP; and see MM/PM, 18.2.27, PMP.

111. HM/AM, 7.10.26, AMP.

112. PM/HM, 20.11.26, PMP.

113. MM/PM, 26.12.26, PMP.

114. HM/AM, 30.12.26, AMP.

115. HM/PM, n.d. [early 1927], PMP.

116. PM/HM, 3.2.27, PMP.

117. PM/HM, 3.1.27, PMP.

118. HM/PM, n.d. [early 1927], PMP.

119. HM/AM, 13.6.26, AMP; Ingram had made his name in Hollywood with Four Horsemen of the Apocalypse.

120. Marguerite Matisse insisted that this was why HM stopped working with Henriette (information from Wanda de Guébriant).

121. AM/MM, n.d. [early 1927].

122. HM/AM, 27.11.27, AMP.

123. Duthuit, p. 289.

124. HM/PM, 1.2.27, PMP.

125. GD/HM, 18.12.26, AMP; and see Duthuit, p. 319, n. 33.

126. Duthuit, Les Fauves, p. 14; and see Barr, p. 201.

127. Blue Nude was bought by Michael Stein for Claribel Cone of Baltimore; Red Studio was bought by David Tennant on Prichard’s advice for the Gargoyle Club; Moroccans and Bathers by a River remained unsold until 1952 and 1954 respectively.

128. HM/GD, 2.10.26, AMP in Duthuit, p. 229; see also HM/MM, n.d. [Sept. 1927]; the article, “Oeuvres récentes d’Henri Matisse,” Cahiers d’Art (Sept. 1926), is in Duthuit, pp. 44–46.

129. This and the next quote from HM/MM, n.d. [Sept. 1927], AMP.

130. HM/AM, 13.10.27, AMP.

131. AM/MM, n.d. [winter 1927-28], AMP.

132. HM/AM, 8.3.28, AMP.

133. AM/MM, n.d. [May 1928], AMP.

134. HM/AM, 31.8.28, AMP.

135. The awning is referred to in HM/AM, 17.7.28, AMP.

136. HM/AM, 7.7.28, AMP; HM’s excitement about and hopes for this painting charted in letters to his wife on 6, 7, 8,14,15 and 17 July 1928.

137. Georges Duthuit, Matisse: Fauve Period (New York, 1956), no pagination.

CHAPTER NINE

1. This and the next quote from HM/AM, 3.3.28, AMP.

2. PM/HM, 14.12.27, and HM/PM, 16.12.27, PMP; for the religious rumour, HM/AM, 1.3.28, AMP; for the Louvre painting, see p. 300, and n. 23 below.

3. Flam 2, p. 83, and Fourcade, p. 92.

4. HM/AM, 4.11.27, AMP; for HM’s record as a rower, see Cowart in Matisse 1986, p. 43, n. 21, Schneider, p. 523, Cassarini and “Club Nautique de Nice Cinquantenaire,” Annuaire 1933 Nice, pp. 69 and 99.

5. Flam 2, p. 84, and Fourcade, p. 94.

6. HM/AM, 18.2.29, AMP.

7. HM/AM, n.d. [Feb. 1929], AMP.

8. Jules Romains, Amitiés et Rencontres (Paris, 1970), p. 93.

9. HM/AM, 17.3.29, AMP.

10. PM/HM, 30.5.31, PMP.

11. AM/MM, Friday evening, n.d. [June 1929], AMP.

12. MM/HM, 23.2.29, AMP.

13. My account of this encounter is based on family correspondence, information from LD, Aragon 1, p. 89, and C. de Pesloüan, “Matisse photographe,” Jours de France Madame, Paris, 27.11.89.

14. AM/MM, Friday, n.d. [spring 1929], and HM/MM, 23.5.29, AMP.

15. HM/MM, n.d. [July 1929], AMP.

16. AM/MM, Friday evening, n.d. [June 1929], AMP.

17. AM/MM, n.d. [May 1929], AMP.

18. MM/HM, 18.6.29, AMP.

19. HM/AM, n.d. [Feb. 1929], and 9.6.30, AMP, and information from Pauline Schyle.

20. Fourcade, p. 102, n. 58, and Flam 3, p. 229.

21. This and the next quote from MM/HM, 6.9.33, AMP.

22. MM/HM, 27.1.29, AMP; the rival authors were Tériade (whose book for Christian Zervos never materialised) and Florent Fels, responsible for the French text of Henri Matisse published by Chroniques du Jour with English and German editions written by Roger Fry and Gotthard Jedlicka respectively; Henry McBride’s Matisse came out in New York, and there was a revised edition of Waldemar George’s 1925 book of drawings in Paris.

23. HM/MM, 10.3.29, and HM/AM, 24.3.29, AMP; see also Jacques Mauny, “French Museums and French Art,” The Arts, vol. 15 (May 1929), pp. 314, 318 and 322.

24. HM/AM, 18.2.29, AMP.

25. HM/AM, Sunday, 5 p.m., n.d. [March 1929], AMP.

26. HM/AM, Friday evening, n.d. [March 1929], AMP.

27.MM/HM, 4.12.29, AMP.

28. The plaster Back I was shown at the Armory Show in New York in 1913, and again with Backs II & IV in Lucerne in 1949; all three were cast in bronze to be shown in Paris in 1950 (Back III was never shown in HM’s lifetime).

29. Gérard Matisse to HS.

30. HM/MM, 21.11.29, AMP.

31. HM/MM, 16.10.29, AMP.

32. Flam 2, p. 85, and Fourcade, p. 98.

33. Duthuit, p. 288.

34. HM/MM, 19.4.53, AMP.

35. Aragon 1, p. 208.

36. HM/AM, 21.2.30, AMP (The book was Alain Gerbault, A la Poursuite du Soleil: Journal de bord [Paris, 1929]); for Lucien Gauthier’s photos, see Laudon, pp. 23, 25, 56, 72, 84, 85, 96, 98 and 140, n. 35; for Stevenson, see p. 319; for Chadourne’s Vasco, HM/MM, 28.4.30, AMP, HM/PM, 6.6.30, PMP, and see p. 313, and n. 77 below.

37. HM/PM, 6.10.29, PMP.

38. HM/AM, 20.9.29, AMP.

39. MM/HM, Saturday evening/Sunday, n.d. [Aug.–Sept. 1933].

40. This account based on family correspondence in AMP, and on three undated letters (1932–33) from MM to PM in PMP.

41. PM/HM, 25.10.29, PMP.

42. MM/HM, 14.10.29, AMP.

43. HM/MM, 10.5.30, AMP.

44. Pesloüan, Jours de France Madame.

45. Flam 2, p. 90, and Fourcade, p. 107.

46. HM/AM, 5.3.30, AMP.

47. HM/AM, 6.3.30, AMP.

48. At the Paramount Theatre; details of HM’s itinerary from letters to his wife, AMP.

49. HM/AM, 6.3.30, AMP.

50. Flam 2, p. 111.

51. HM/AM, 5.3.30, AMP.

52. HM/AM, 10.3.30, AMP.

53. HM/C. Thorndike, 7.3.30, Getty.

54. HM/AM, 5.3.30, AMP.

55. HM/AM, 10.3.30, AMP.

56. HM/AM, 10.3.30, AMP.

57. This and the next quote from HM/AM, 12.3.30, AMP.

58. HM/AM, 15.3.30, AMP.

59. Aline Kistler, “Matisse Approves,” Art Digest, vol. 4, no. 14 (April 1930): p. 26.

60. HM/AM, 26.3.30, AMP.

61. HM/AM, 30.3.30, and Laudon, p. 30. My account of HM’s experiences on Tahiti is based primarily on his journal-letters to his wife; on conversations with Pauline Schyle on the island of Moorea in November 1994; and on the invaluable Laudon, an account based on firsthand research and intimate knowledge of the island, which is by far the most comprehensive and reliable to date (a first draft of this text and extracts from HM’s letters are in Matisse 1998).

62. HM/AM, 30.3.30, AMP.

63. HM/AM, 13.4.30, AMP.

64. HM/AM, 30.3.30, AMP.

65. HM/AM, 30.3.30, AMP.

66. Couturier, p. 205.

67. HM/AM, 1.3.30, AMP.

68. Couturier, p. 289.

69. Flam 2, p. 89, and Fourcade, p. 105.

70. Fourcade, p. 103, n. 58, and p. 109, and Flam 2, pp. 91 and 213.

71. This and any other unattributed quote from Pauline Schyle come from conversations with HS.

72. HM/MM, 10.5.30, HM/AM, 29.4.30, both AMP, and see Camoin, p. 205, and Laudon, pp. 63-64.

73. The best account of the cultural and historico-political context is in John Klein, “Matisse After Tahiti: The Domestication of Exotic Memory,” Zeitschift für Kunstgeschichte (1997), pp. 44–89 (translated as “Matisse après Tahiti, la maturation d’une expérience exotique” in Matisse 1998), but access to HM’s correspondence would have radically modified Klein’s conclusions.

74. HM/AM, 30.3.30, AMP, and see Laudon, p. 44.

75. HM/AM, 2.4.30, AMP, and Flam 2, p. 89, and Fourcade, p. 106.

76. HM/AM, 2.4.30, AMP.

77. Marc Chadourne, Vasco (Paris, 1994 [1926]), p. 147, and see ibid., pp. 136–37 (Pauline identified herself as the heroine, and HM’s drawings of her in this style are in Matisse 1998, pp. 79–80).

78. HM/MM, 28.4.30, and HM/AM, 13.5.30, AMP.

79. HM/AM, 2.4.30, AMP.

80. HM/AM, 30.3.30, AMP; and see Flam 2, p. 89, and Fourcade, p. 106.

81. HM/AM, 24.4.30, and Easter Sunday [20.4.30], AMP.

82. Pauline Schyle to HS.

83. HM/AM, 24.4.30, AMP.

84. HM/AM, 13.4.30, AMP; the next quote from ibid., 13.5.30.

85. Information from Pauline Schyle (who confirmed HM’s account of their relations to Laudon, to Klein and to the author); for HM and the sexual context, see Laudon, pp. 63–66.

86. HM/AM, 2.4.30, AMP.

87. HM/AM, 17.4.30, AMP; for Morillot, see Laudon, pp. 68–70 and 141, n. 88.

88. HM/AM, 30.3.30, AMP.

89. HM/Jean Florisson, 20.4.47, in Laudon, pp. 55 and 141, n. 68; see also ibid., pp. 60 and 63, Flam 2, p. 90, and Fourcade, p. 106.

90. HM/MM, 10.5.30, and Laudon, pp. 67 and 81–82; see also Klein, “Matisse After Tahiti,” pp. 66–70.

91. HM’s sketch is in HM/AM, 4.5.30, AMP, and Murnau’s photo in Laudon, p. 88; see also ibid., pp. 84 and 91.

92. This and the next quote from HM/AM, 6.5.30, AMP.

93. HM/AM, 14.5.30, AMP.

94. HM/AM, 22.5.30; for the Hervés, see Patrick O’Reilly and Raoul Tessier, Tahitiens: Répertoire bio-bibliographique de la Polynésie Française (Paris, 1962), and Laudon, pp. 96–99.

95. HM/AM, 22.5.30, AMP (HM’s drawing is in ibid., 29.5.30).

96. Robert Louis Stevenson, In the South Seas (London, 1912 [1896]), p. 137; the next quote from ibid., p. 138; HM refers to his copy of the French translation by Théo Varlet in HM/AM, 22.5.30, AMP, and HM/PM, 6.6.30, PMP.

97. HM described the lagoon in HM/AM, 29.5.30, AMP, and HM/PM, 6.6.30, PMP; see also Fourcade, p. 103, n. 58, Flam 2, p. 214, Aragon 1, p. 7, and Courthion, p. 291.

98. HM/AM, 22.5.30, AMP.

99. HM/AM, 29.5.30, AMP; the two drawings are in Laudon, frontispiece and p. 101.

100. Aragon 1, p. 209.

101. Bonnard, p. 41.

102. Couturier, p. 289, and see Flam 2, p. 214, and Matisse 1998, p. 85.

103. HM/Pauline Schyle, 8.4.32, in Matisse 1998, p. 148.

104. Aragon 1, p. 7.

105. HM/PM, 6.6.30, PMP.

106. HM/AM, 9.6.30, AMP.

107. Ibid., and see Courthion, p. 117.

108. Camoin, p. 204.

109. HM/AM, 8.7.30, AMP.

110. Claude Duthuit, “Henri Matisse: Notion du Voyage,” Matisse Paris 1999, p. 25.

111. G. Brassaï, Les Artistes de ma vie (Paris, 1982), p. 305.

112. HM/P. Schyle, 29.8.30, Laudon, p. 111; HM/MM, 10.5.30, HM/AM, 13.5 and 19.9.30, all AMP; and see Flam 2, p. 88, and Fourcade, p. 101.

113. Laudon, p. 91.

114. Flam 4, pp. 16 and 79, n. 20.

115. PM/HM, 24.12.27, PMP; and see Boris Ternovets, “Letter from Russia,” Formes 3 (1930).

116. HM/AM, 24.9.30, AMP.

117. HM/AM, 24 and 20.9.30, AMP.

118. John Lukacs, Philadelphia: Patricians and Philistines 1900-1950 (New York, 1980), p. 271.

119. I am grateful to Hilton Kramer for this information.

120. This and the next quote from Albert C. Barnes, “How to Judge a Painting,” Arts and Decoration (April, 1915), in Howard Greenfield, The Devil and Dr. Barnes: Portrait of an American Art Collector (New York, 1987), p. 54.

121. Greenfield, The Devil and Dr. Barnes, p. 111, and Flam 4, pp. 19 and 79, n. 24; my account of HM’s work on Barnes’ commission is based primarily on HM’s correspondence, on information from LD, and on Flam’s definitive account.

122. Time, 20.10.30.

123. HM/AM, 30.12.30, AMP.

124. Claribel Cone/Etta Cone, n.d. [1927], Baltimore Museum of Art, Cone archive.

125. George Boas, “The Cones,” Paintings, Sculpture and Drawings in the Cone Collection (Baltimore Museum of Art, 1967), p. 13.

126. E. Cone/MM, n.d. [Jan.-Feb. 1931], draft letter, BMA.

127. HM/AM, 22.12.30, AMP.

128. Pesloüan, Jours de France Madame; my account of HM’s behaviour based on this interview, and on information from LD.

129. Flam 4, pp. 26–33 and 81, n. 58.

130. HM/P. Schyle, 29.8.30, in Matisse 1998, p. 108.

131. Flam 2, p. 122, and Fourcade, p. 128.

132. This and the next two quotes from PM/HM, 12.11.31, PMP.

133. GD/HM, n.d. [spring 1933], AMP.

134. Schneider, p. 618.

135. John Russell, Matisse Father and Son (New York, 1999), p. 61.

136. Flam 4, p. 38; and see Spurling, p. 395.

137. I am grateful to Wanda de Guébriant for this account.

138. Masson, p. 93.

139. Jules Romains, Amitiés et Rencontres (Paris, 1970), p. 94.

140. Schneider, p. 616.

141. Georges Charbonnier, “Entretiens avec André Masson” ts. of recorded interview, 1933, JC (including material omitted from the published interview in Masson).

142. This and the next quote in Bussy, J. S., p. 83.

143. Flam 4, p. 69.

144. Preface by Jean Guichard-Meili in Claude Duthuit, ed., with Françoise Garnaud, Matisse: Catalogue raisonné des ouvrages illustrés (Paris, 1987), pp. xvii—xviii.

145. Flam 2, p. 88, Fourcade, p. 102.

146. HM/P. Schyle, 20.12.31, in Laudon, p. 115.

147. MM/PM, n.d. [Nov. 1931], PMP.

148. Flam 4, pp. 46 and 83, n. 86.

149. The telegrams are in Flam 4, pp. 46–47 and 83, nn. 91 and 92.

150. Escholier, p. 13.

151. My account based on information from Wanda de Guébriant and from LD (known to HM at this stage by her married name of Omeltchenko), who remembered staying for six months, and confirmed that HM was still working on his Mallarmé (see Couturier, p. 149, n. 2), which was published on 25 October.

152. HM/PM, 15.1.33; my account of HM’s dealings with Barnes based on his correspondence with PM, who was his father’s main confidant throughout.

153. Bussy, J. S., p. 83.

154. Masson, p. 89; the next quote from p. 93.

155. MM/PM, Easter Sunday, 1933, PMP.

156. Masson, p. 88 (Les Présages opened on 13 April), and HM/PM, 23.4.33, PMP.

157. Courthion, p. 85.

158. Flam 2, p. 109, and information from LD.

159. HM/MM, n.d. [Apr.-May 1933], AMP.

160. GD/HM, n.d. [Apr. 1933], AMP.

161. HM/MM, 30.5.31, AMP, and Flam 4, p. 62.

162. HM/S. Bussy, 17.5.33, Bussy.

163. HM/AM, 17.5.33, AMP.

164. HM/AM, 18.5.33, AMP.

165. HM/MM, 30.5.33, AMP.

166. Undated letter [June 1933] from Dorothy Dudley to her sister, the painter Katharine Dudley, kindly shown me by the writer’s grandson, Steven Harvey; see also Steven Harvey et al., Ghosts and Live Wires, ex. cat. (Gallery Schlesinger: New York, 1990).

167. Dorothy Dudley, “Notes on Painting: The Matisse Fresco in Merion, Pennsylvania,” Hound and Horn, vol. 7 (January–March 1934) (the text is in Flam 2, pp. 108–13, and see pp. 278–81).

168. Greenfield, The Devil and Dr. Barnes, p. 251; and E. Haas, “The Appreciation of Quality,” unpub. ts., Bancroft Library, University of California, Berkeley, p. 179.

169. Flam 4, p. 74, n. 183.

170. Spurling, p. 17, and see ibid., p. 248, and HM/PM, 9.12.35, PMP.

CHAPTER TEN

1. PM/HM, 10.2.34, PMP (HM had initially turned the proposal down).

2. HM/S. Bussy, 25.6.34, Bussy (in the end HM dropped the Sirens, added Aeolus and subsumed Penelope in an image of her palace at Ithaca); further information in this paragraph from HM/S. Bussy, 17.2.34, S. Bussy/HM, 18.2.34, both Bussy, and HM/MM, 13.3.34, AMP.

3. HM/S. Bussy, 25.6.34, Bussy.

4. HM/S. Bussy, 18.6.33, Bussy.

5. Introduction by Claude Duthuit, Matisse Oeuvre gravé.

6. MM/HM, Sunday/Saturday evening, n.d. [Aug.–Sept. 1933], AMP.

7. HM/PM, 22.5.41, PMP; and see Spurling, pp. 60 and 255–56.

8. Pearl Buck, The Fighting Angel (London, 1937), p. 58.

9. HM/PM, 5.6.41, PMP; and HM/MM, 15.7.41, AMP.

10. HM/MM, 19.5.33, AMP.

11. HM/S. Bussy, 24.8.33, Bussy.

12. Information from LD.

13. Dossier B. Parayre, F17 24321, Archives Nationales, Paris; and see Spurling, p. 443, n. 105.

14. HM/PM, 11.10.33, PMP.

15. MM/PM, 15 Apr. [1934], PMP.

16. LD married Boris Omeltchenko in Paris on 26.4.30. My account of her history and background is chiefly based on conversations with her in Paris between 1993 and her death in 1998; on her copy of a ts. of an unpublished dialogue with Xavier Girard, modified by her handwritten corrections which she discussed in detail with me; and on her livret de famille, kindly shown me by Vincent and Irène Hansma.

17. HM/PM, 28.3.34, and PM/HM, 29.3.34, both PMP.

18. HM/PM, 28.3.34, PMP.

19. HM/PM, 11.10.33, PMP.

20. MM/HM, 6.9.34, AMP.

21. JM/MM, n.d. [?1927], AMP.

22. MM/PM, 18.2.27, PMP.

23. PM/HM, 26.1.28, PMP.

24. HM/PM, 16.12.27, PMP.

25. PM/HM, 29.3.34, PMP.

26. Information from Paul Matisse.

27. MM re-hung HM’s shows at the Thannhauser Gallery, Berlin, in February 1930 and the Leicester Galleries, London, in February 1936 (MM/HM, n.d. [Feb. 1930], and 17.2.36, all AMP).

28. This and the next quote from the introduction to Matisse Oeuvre gravé by Claude Duthuit.

29. Information from Claude Duthuit.

30. HM/MM, 25.7 and 27.2.35, AMP.

31. Michael Luke, David Tennant and the Gargoyle Years (London, 1991), p. 48.

32. Preface by Ruthven Todd, Fitzrovia and the Road to the York Minster, ex. cat. (Parkin Gallery: London, 1973).

33. Luke, David Tennant and the Gargoyle Years, p. 48; I am grateful to Lady Pauline Rumbold for further information.

34. John Pope-Hennessy, Learning to Look (New York and London, 1991), pp. 273–74.

35. AM/MM, 29.1.29, AMP.

36. GD/PM, 23.7.34, PMP.

37. MM/HM&AM, 30.8.34, AMP.

38. Duthuit 1, pp. 271 and 321, n. 61.

39. HM/SB, 8.6,1.7, and 17.7.34, and MM/AM, 28.6.34, all AMP.

40. HM/S. Bussy, 25.6.34, Bussy.

41. HM/PM, 21.10.34, PMP.

42. The dispute with Macy reported in HM/PM, 10.8, 5.9, and 24.9.34, and 2.2.35 et passim, PMP; and see Claude Duthuit, ed., with François Garnaud, Henri Matisse: Catalogue raisonné des ouvrages illustrés (Paris, 1987), pp. 37–38.

43. J. Joyce/T. W. Pugh, 6.8.34, R. Ellmann, ed., Letters of James Joyce (New York, 1966), vol. 3, p. 314; HM/MM, 14.8.34, AMP, and HM/S. Bussy, 24.8.34, Bussy.

44. HM/MM, 24.9.34, AMP (Joyces intermediary was Paul Léon, HM/MM, n.d. [Aug. 1934]).

45. Ellmann, Letters of James Joyce, p. 317, and HM/MM, 5.9.34, AMP.

46. See Delectorskaya 1, p. 89 (the painting was Hercules and Antaeus in the Uffizi Gallery, Florence); see also Barr, pp. 249 and 474, and Schneider, p. 625.

47. Aragon 1, p. 198.

48. Schneider, p. 582.

49. HM/MM, 5.9.34, AMP; and information from LD.

50. HM/MM, Easter 1935, AMP, and HM/PM, 28.3.34, PMP.

51. AM/MM, 27.1.35 and n.d. [Jan. 1935], and HM/MM, 31.1.35, both AMP, and HM/SB, 26.2.35, Bussy.

52. HM/PM, 2.3.35, PMP.

53. Delectorskaya 1, p. 16; further information from HM/MM, 27.2.35, AMP, and HM/PM, 2.3.35, PMP.

54. HM/SB, 6.3.34, Bussy, and HM/PM, 21.1.35, PMP.

55. HM/PM, 2.7.35, PMP.

56. MM/HM, 16.7.35, AMP.

57. HM/PM, 22.3.35, PMP.

58. HM/S. Bussy, n.d. [28.4.35], Bussy.

59. This and the next quote from Delectorskaya 1, p. 15, and see ibid., pp. 19–21.

60. LD to HS.

61. Delectorskaya 1, pp. 15 and 17.

62. Ibid., p. 22; the next quote on p. 16.

63. HM/MM, 3.3 and 25.2.37, AMP.

64. Delectorskaya 1, p. 22.

65. Ibid., p. 89.

66. Ibid., p. 35.

67. Ibid., pp. 36–37.

68. Tomsk was seized by rebel forces on 4.6.18 (LD was born 23.6.10)

69. Couturier in Delectorskaya 1, p. 200.

70. HM/PM, 2.7.35, PMP (for Pink Nude dates, see Delectorskaya 1, p. 29).

71. LD to HS.

72. PM/HM, 20.6.35, PMP.

73. HM/MM, 26.3.35, AMP.

74. Information from Claude Duthuit.

75. AM/MM, 9.7.34, AMP; MM’s collection documented in correspondence with HM throughout the spring, summer and autumn of 1935, AMP, and in HM/S. Bussy, 17.8.35.

76. PM/HM, 20.6.35, PMP, and MM/HM and AM, 16.7.35, AMP.

77. HM/PM, 2.7.35, PMP.

78. HM/MM, 21.7.35, AMP.

79. This and the next quote from HM/PM, 2.7.35, PMP.

80. Flam 2, p. 132, and Fourcade, p. 163.

81. MM/HM, 10.10.28, AMP.

82. Information from LD (OM died in 1929 but the news took several years to reach HM).

83. PM/HM, 2.2.35, PMP.

84. HM/PM, 22.3.35, PMP.

85. HM/GD, 23.9.35, AMP, and see Duthuit 1, p. 273.

86. LD to HS.

87. Delectorskaya 1, p. 26.

88. HM/PM, 9.12.35, PMP.

89. Delectorskaya 1, pp. 26–27 (HM’s notes are in ibid., pp. 89–138).

90. LD to HS.

91. HM/MM, 7.3.36, AMP.

92. LD to HS.

93. Schneider, p. 582.

94. HM/MM, 25.1.36, AMP.

95. Reports on background and reception of this show in HM/MM, 3, 7,15,16 and 17.2.36, AMP.

96. MM/HM, 3.2.36, AMP.

97. Delectorskaya 1, p. 115.

98. HM/S. Bussy, 27.2.36, AMP.

99. HM/MM, 13.4.34 and 19.4.35, AMP.

100. HM/S. Bussy, 31.7.36, Escholier, pp. 131–32, and see p. 373, and n. 128 below; for Gide’s studio (which eventually went to another tenant), see S. Bussy/HM, 24.5.39, Bussy.

101. LD to HS; I am grateful to Angelica Garnett for confirming LD’s view.

102. Angelica Garnett, Deceived with Kindness (London, 1984), p. 169.

103. Alan Sheridan, André Gide: A Life in the Present (London, 1998), pp. 464–65.

104. Richard Tedeschi, ed. Selected Letters of André Gide and Dorothy Bussy (London, 1983), p. 258.

105. Bussy 1996, p. 131.

106. François de Miomandre in Simon Bussy et ses amis, ex. cat. (Musée des Beaux-Arts: Besançon, 1970), p. 129.

107. LD to HS.

108. HM/S. Bussy, 10.2.35, Bussy.

109. S. Bussy/HM, 1.5.41, AMP.

110. Quentin Bell, Elders and Betters (London, 1995), p. 157; I am grateful to Angelica Garnett for confirming my interpretation of this passage.

111. Quentin Bell/HS, 1.6.94.

112. Jane Simone Bussy, “A Great Man,” Burlington Magazine, vol. 128 (February 1986): pp. 801–4 (Bussy, J. S.) (the text is in Flam 3, pp. 320–23). This literary satire has too often been adduced as documentary evidence by scholars who ignore its personal bias and rhetorical exaggerations: my account of its origins based on conversations with LD, and on her annotated version of the French translation (Bulletin des Amis d’André Gide [October 1989]).

113. “Testament against Gertrude Stein,” transition, no. 23 (February 1935).

114. Bell, Elders and Betters, p. 158.

115. In Richard Shone, “Matisse in England and Two English Sitters,” Burlington Magazine (July 1993): p. 483, n. 32.

116. Ibid., p. 481.

117. Ibid., pp. 483–84.

118. Christopher Nevinson, Paint and Prejudice (London, 1937), p. 125.

119. Shone, “Matisse in England,” p. 482.

120. Matisse Picasso 2002, p. 379.

121. Fry in Flam 3, p. 251, and Barr in cat. preface to Matisse retrospective, MoMA, 1931.

122. This and the next quote from Clive Bell, “Matisse and Picasso,” Europa, vol. 1, no. 1 (May—July 1933): pp. 30 and 31.

123. “Notes of a Painter on his Drawing,” Flam 2, p. 132, and Fourcade, p. 163.

124. HM/PM, 17.12.35, and PM/HM, Feb. 1936, PMP (Marie Cuttoli commissioned the tapestries, shown at the Bignou Gallery, New York, in February 1936).

125. “Entretiens avec André Masson,” taped interviews by Georges Charbonnier, cassette 4, JC (Masson gave a slightly different version in Schneider, p. 616).

126. Schneider, p. 617.

127. HM/S. Bussy, 31.7.36, Bussy; Escholier, pp. 129 and 131–32; and see Matisse Picasso 2002, p. 378.

128. My account of this affair based on Schneider, pp. 137,152, n. 2, 617 and 621, and Flam 4, pp. 68 and 87, n. 167; HM’s view of Dufy (in his correspondence passim) confirmed by Wanda de Guébriant.

129. Dominique Fourcade, “Réver à trois Aubergines,” Critique (May 1974): p. 477; and see Escholier, p. 222.

130. Escholier, p. 50; HM’s letter accompanying the gift is in Fourcade, pp. 133–34, and Barr, p. 40.

131. HM/MM, 10.3.35, AMP.

132. Kean, pp. 245–46; Barr and Escholier applied unsuccessfully for loans in 1931 and 1937 respectively (Barr, p. 22, and HM/PM, 18.11.36, PMP).

133. HM/MM, 11.1.34 and Easter 1935, AMP; Pierre’s schemes in PM/HM, 14.3 and 11.4.32, PMP.

134. Kean, p. 235.

135. Barr, p. 224.

136. HM/S. Stein, 5.8.35, draft, AMP.

137. MM/HM, n.d. [Aug.-Sept. 1933], AMP; my account of the collection based primarily on Brenda Richardson, Dr. Claribel and Miss Etta: The Cone Collection of the Baltimore Museum of Art (Baltimore, 1986), extensively updated here in the light of HM’s correspondence.

138. MM/HM, n.d. [Sept. 1933], AMP.

139. MM/HM, 8.9.33 and n.d. [Aug.-Sept. 1933], AMP.

140. Claribel Cone, Aunt Etta and the Personalities (Phoenix, Arizona, 1986), p. 10; and see Edward T. Cone, “The Miss Etta Cones, the Steins and M’sieu Matisse: A Memoir,” The American Scholar (summer 1973): pp. 454–55.

141. MM/HM, n.d. [July 1935], AMP.

142. HM/S. Bussy, 10.7.34, Bussy.

143. HM/PM, 28.4.46, and see PM/HM, 10.5.46, PMP.

144. HM/AM, 20.4.30, AMP, and see Spurling, pp. 8 and 15; my account of HM’s birds based on information from LD.

145. Shone, “Matisse in England,” p. 484.

146. HM/PM, 15.12.37; further information from LD, from PM/HM, 15.12.37 and 10.1.38, and from HM/Marie Dormoy, 25.3.38, Bibliothèque J. Doucet, Paris.

147. Β. Parayre/Alexina Matisse, 16.12.37, PMP.

148. PM/HM, 28.9.36, PMP.

149. B. Parayre/PM, 13.1.38, PMP; further information from HM/PM, 22.4.38, PMP.

150. HM/PM, 16.3.38, PMP.

151. Information from LD.

152. Information from LD; and see Delectorskaya 1, p. 277.

153. Information from LD; see also Courthion, pp. 88-89, and HM/PM, 22.4.38, PMP.

154. PM/HM, 25.11.38, and HM/PM, 3.11.38, PMP.

155. Information from LD.

156. HM/G. Besson, 31.10.38, Besson archive.

157. HM/S. Bussy, 29.8.39, Bussy.

158. Information from LD, and HM/PM, 8.1.39, PMP.

159. HM/PM, 26.1.39, PMP.

160. Information from LD.

161. HM/PM, 12.1.39, PMP.

162. J. Bussy/Vanessa Bell, 23 March [1939], Tate Gallery Archive, London.

163. Correspondence André Gide—Dorothy Bussy, vol. 3, 1937–1951 (Paris, 1982), p. 126; information from LD, and see Bussy, J. S.

164. J. Bussy/V. Bell, 23 March [1939], Tate Gallery Archive, London.

165. HM/SB, 14.7.39, Bussy.

166. LD to HS; the following account comes from LD.

167. J. Bussy/V. Bell, 23 March [1939], Tate Gallery Archive, London, and B. Parayre/PM, 7.9.39, PMP.

168. HM to an unidentified acquaintance, 2.4.39, Getty.

169. See Delectorskaya 1, p. 33, and HM/PM, 7.5.39, PMP (Rockefeller declined to take this second panel).

170. PM/HM, 5.5.39, PMP.

171. PM/HM, 2.5.39, PMP.

172. See Delectorskaya 1, p. 272 (the ballet was renamed L’Etrange Farandole in Paris).

173. HM/S. Bussy, n.d. [June 1939], Bussy (HM seems to have confused Atalanta’s marriage with Thetis’ wedding to Peleus, which was the one the gods attended).

174. HM/S. Bussy, 1.7.39, Bussy.

175. Information from Claude Duthuit.

176. HM/S. Bussy, 5 and 14.7.39, Bussy.

CHAPTER ELEVEN

1. HM/P. Rosenberg, 9.8.39, Pierpont Morgan Library.

2. HM/SB, 29.8.39, Bussy.

3. HM/SB, 24.9.39, Bussy.

4. Information from LD; see Delectorskaya 1, p. 319 (the painting is also called Flowers and Figure with Arab Pot or Daisies in Barr, p. 485).

5. This and the next quote LD to HS.

6. HM/SB, 24.9.39, Bussy.

7. HM/PM, 21.10.39, PMP.

8. HM/MM, 20.1.40, AMP (the figure is now in Musée Matisse, Cimiez).

9. HM/PM, 4.11.39, PMP.

10. Barbu Brezianu, “Matisse et Pallady: Leur Amitié et leurs relations artistiques,” Journal Akademiai Kiado (Budapest, 1973), pp. 436–37.

11. HM/P. Rosenberg, 8.4.40; see also ibid., 30.9 and 7.11.39 (an earlier contract dated 16.7.39 annulled by the war), all in Morgan Library.

12. LD to HS.

13. HM/P. Rosenberg, 10.2.40, Morgan Library.

14. HM/MM, 20.1.40,. AMP.

15. HM/PM, 4.11.39, PMP.

16. B. Parayre/PM, 7.9.39, PMP.

17. HM/Mqt, 8.4.41; information about Noeud de Vipères from LD, and see HM/AR, 25.10.42, Finsen, p. 116.

18. HM/P. Rosenberg, 7[10].2.40, Pierpont Morgan Library, New York.

19. HM/PM, 10.10.39, PMP.

20. Information from LD, and HM/PM, 7.6.40, PMP.

21. HM/PM, 6.6.40, PMP.

22. Information from LD.

23. HM/SB, 11.5.40, Bussy.

24. Information from LD, HM/PM, 6.6.40, PMP, HM/SB, 7.6.40, Bussy, and Delectorskaya 2, pp. 92–95 and 98.

25. HM/PM, 6 and 7.6.40, PMP.

26. Introduction to Verve, no. 8 (June 1940), see Dominique Szymusiak et al., Matisse et Tériade, ex. cat. (Musée Matisse, le Cateau-Cambrésis, 1997), p. 62.

27. HM/MM, n.d. [June 1940], AMP.

28. Claude Duthuit, “Résistantes,” unpub. ts. kindly shown me by the author.

29. HM/PM, 1.9.40, PMP.

30. Delectorskaya 2, p. 100.

31. HM/R. Escholier, 20.4.41, Getty, and see HM/SB, 11.7.40, Bussy, and HM/PM, 30.7.40, PMP.

32. HM/PM, 6.6 and 3.7.40; for the torso’s story, see also Escholier, pp. 195–97.

33. HM/SB, 7.8.40, Bussy.

34. Information from LD.

35. HM/PM, 1.9.40, PMP; ibid., 19.8.40, and HM/MM, 27.8.40, AMP.

36. HM/PM, 1.9.40, PMP, et passim.

37. HM/P. Rosenberg, 7[10].2.4o, Pierpont Morgan Library, New York.

38. HM/PM, 1.9 and 6.6.40, PMP.

39. HM/MM, 15.10.40, AMP.

40. HM/PM, 10.11 and 11.10.40, PMP.

41. HM/SB, 17.6.40, Bussy.

42. HM/MM, 26.9.40, AMP.

43. HM/MM, 15.8.40, AMP, HM/PM, 27.8.40, and Escholier, pp. 195–96.

44. HM/MM, 15.10.40, AMP.

45. PM/HM, 13.9.40, PMP.

46. Bonnard, pp. 95 and 96.

47. The Beaux-Arts’ Villa Medici in Rome was closed down and reopened in Nice in November 1941. HM (who refused to attend the inauguration) broadcast on 21.9.41 and again, after obtaining assurances from the programme’s director, Claude Roy, on 28.4.42. Previous commentators, from Barr onwards, have speculated, sometimes unwisely, about this episode, which can be pieced together from HM’s letters at the time to André Rouveyre in Finsen, pp. 68–69, 73, 99 and 111; the subsequent confusion is ably cleared up in Finsen’s notes, and the respective radio transcripts (excerpted in translation in Barr, pp. 562–63) are on pp. 649–52. See also pp. 407–08, and p. 493, nn. 99–106 below.

48. HM/PM, 18.9.40, PMP.

49. Brezianu, “Matisse et Pallady,” pp. 440–41.

50. HM/PM, 1.9.40, PMP.

51. See HM/PM, 18.9.40, and Delectorskaya 2, pp. 67, 114–15 and 117. The successive models were Micheline Payot and Nézy-Hamidé Chawkat.

52. This and the next quote from Brezianu, “Matisse et Pallady,” p. 440.

53. HM/PM, 28.11.40, PMP.

54. LD/MM, 25.12.40, AMP.

55. HM/PM, 15.1.41, PMP.

56. My account of the origins, symptoms and treatment of HM’s condition is based principally on detailed accounts in LD/MM, 25, 27 and 28.12.40, AMP, supplemented by information from LD; HM’s account to Pierre, HM/PM, 20.7.41, PMP; MD’s reports in MM/PM, 24 and 31.1.41, PMP, n.d. [Apr. 1945], AMP; and Professor Wertheimer’s case notes drawn up for Dr. Augier of Nice, 21.5.41, AMP. I am also grateful to Dr. William Chapman of St. Louis for a general consultation on intestinal disorders with particular reference to hernia. HM has been generally assumed to have suffered from cancer of the colon, which was certainly considered as a possibility by his surgeons before the operation, but not mentioned again afterwards. His condition and its treatment is entirely consistent with bowel trouble caused by the hernia that had incapacitated him in adolescence (see Spurling, pp. 43 and 433, n. 55), and which he himself cited afterwards as the cause (HM/AR, 23.6.41, Finsen, p. 52): he had undergone minor corrective surgery for hernia at the American Hospital in Neuilly on 8.9.37 (HM/Mme Thorndike, 27.8.37, Getty, and information from LD), and a recurrence of the same problem in May 1940 could easily have been put right if correctly diagnosed straight away (see pp. 392 and 394, and p. 491, nn. 22 and 23). Cancer, supposing it had been present, would almost certainly have returned within a matter of months (see p. 409, and p. 493, n. 110). Extra confusion has been caused by the fact that HM generally preferred to describe his troubles with hernia as appendicitis.

57. HM/PM, 10 and 15.1.41, PMP.

58. HM/A. Rouveyre, 2 and 22.4.41, Finsen, pp. 35 and 40.

59. HM/PM, 30.8.41, PMP.

60. HM/MM, 2.4.41, AMP.

61. Information from LD.

62. HM/SB, 14.4.41, PMP.

63. HM/A. Rouveyre, 2.4.41, Finsen, p. 35.

64. HM in conversation with Pierre Courthion, Pierre Courthion papers, Getty.

65. HM/A. Rouveyre, 20.4.41, Finsen, p. 39, and HM/PM, 2.5.41, PMP.

66. HM/PM, 20.5.41, PMP.

67. Note in HM’s hand on a cancelled page of his memoirs, Pierre Courthion papers, Getty.

68. My account of HM’s proposed memoirs is put together mainly from HM’s own blow-by-blow commentary in letters to Rouveyre, June–November 1941, in Finsen; from his account to Pierre in HM/PM, 11.3.42 and 12.5.48; and from Courthion’s ts., and supplementary papers (pages corrected or cancelled by HM, miscellaneous notes by both HM and Courthion, correspondence with Courthion and the stenographer Lucien Chachuat, and Courthion’s contract with Skira, 9.7.41), Getty.

69. Pierre Courthion, Le Visage de Matisse (Lausanne, 1942), p. 24, and Courthion, p. 140.

70. HM/PM, 20.7 and 8.11.41, PMP.

71. HM/PM, 5.6.41, PMP.

72. Ibid.

73. Bonnard, pp. 93 and 96.

74. Mqt/HM, n.d. [1941], AMP.

75. HM/PM, 11.3.42, PMP, and HM/Mqt, 16.1.42, AMP.

76. Gilot, p. 14.

77. Schneider, pp. 54 and 69, n. 16.

78. Courthion, Visage de Matisse, p. 20; the next two quotes from ibid., pp. 39 and 119.

79. Courthion, p. 139.

80. Cancelled passage, pp. 37–38, Courthion ts., Getty (the first was Pierre Janet, consulted in the 1914–18 war; the second was the homeopath Pierre Vannier; the third an unnamed practitioner in Nice).

81. HM/A. Rouveyre, 23.7.41, Finsen, p. 52, and see ibid., p. 55.

82. Courthion, Visage de Matisse, p. 33.

83. This and the next quote from HM/PM, 1.10.41, PMP; see also ibid., 8.11.41.

84. Aragon 1, p. 38 (Aragon gives the date as November but it is 20 December in Delectorskaya 2, p. 267).

85. Aragon 1, p. 167 (the text was “Matisse ou la Grandeur,” pub. in Pierre Seghers’ Précis [January 1942]).

86. Aragon 1, p. 42.

87. See Delectorskaya 2, pp. 200–8 and 280–81.

88. HM/PM, 3.4.42, PMP, and HM/MM, 7.4.42, AMP.

89. Aragon 1, pp. 42 and 44; the next quote from ibid., p. 42.

90. “Henri Matisse or the French Painter,” in Henri Matisse: Retrospective Exhibition of Paintings, Drawings and Sculpture, ex. cat. (Philadelphia Museum of Art, 1948), p. 28.

91. Aragon 1, p. 49.

92. Aragon 2, p. 16.

93. Ibid., pp. 15 and 48–49.

94. Aragon 1, p. 169, and see Aragon 2, p. 16.

95. Aragon 1, p. 170.

96. L. Aragon/HM, 7.6.42, AMP.

97. Aragon 1, p. 173.

98. HM/MM, 28.5.42, AMP.

99. Finsen, L153, p. 99, and see Pierre Daix, Aragon: Une Vie à changer (Paris, 1994), pp. 396 and 413; see also Aragon 1, p. 178, and Aragon 2, p. 15.

100. Information from LD.

101. L. Aragon/HM, 11.7.42, AMP, and Aragon 1, p. 17.

102. HM/PM, 26.10.41 and 11.3.42, PMP; and information from LD.

103. Aragon 1, p. 178.

104. HM/MM, 15.2.42, AMP.

105. Couturier, p. 402.

106. Aragon 1, p. 198.

107. Ibid., p. 269.

108. L. Aragon/HM, 3.7.42, AMP.

109. HM/PM, 6.7.42, PMP.

110. My account of this episode based on information from LD, and from Marguerite’s subsequent account, n.d. [Apr. 1945], AMP.

111. HM/PM, 6.7[8].42, PMP.

112. Delectorskaya 2, p. 340; and information from Dame Drue Heinz, who was present.

113. Delectorskaya 2, pp. 108–9 and 353.

114. Ibid., p. 400.

115. Ibid., pp. 366–67.

116. HM/L. Aragon, 1.9.42, in ibid., p. 378.

117. Soeur Jacques, p. 24.

118. Ibid., p. 28.

119. This and the next quote from Delectorskaya 2, pp. 414-15.

120. Report on HM’s health by MD, n.d. [Apr. 1945], AMP.

121. Aragon 1, p. 136 and n., p. 137, and Aragon 2, p. 15.

122. Information from LD, and see Aragon 1, p. 276.

123. Camoin, p. 187, and see ibid., p. 185, n. 3.

124. HM/MM, 30.3 and 14.6.43, AMP, and see Bonnard, p. 117,

125. HM/PM, 18.6.42, PMP.

126. Careo, p. 224, and HM/A. Rouveyre, 3.7.42, Finsen, p. 119.

127. Aragon 1, p. 181, and Finsen, L235, p. 151.

128. HM/MM, 14.6.43, AMP.

129. HM/A. Rouveyre, 26.7.42, Finsen, p. 120.

130. Ibid, 8–9.12.41, Finsen, p. 83.

131. HM/Mqt, 28.12.44, AMP.

132. HM/A. Rouveyre, 5.3.20, Finsen, p. 33.

133. Finsen, L315, p. 217.

134. Finsen, L302, p. 211.

135. Finsen, L338, p. 226.

136. Finsen, L301, n. 2, p. 211.

137. MM/HM, 20.5.43, AMP.

138. HM/MM, 14.6.43, AMP, and information from LD.

139. This and the following quotes from HM/MM, 26.7.43, AMP.

140. HM/MM, 7.4.42, and information from LD.

141. Aragon 1, p. 186.

142. This and the next quote from ibid., p. 185.

143. HM/MM, 29.11.43, AMP.

144. Aragon 2, p. 35.

145. Information from LD, and HM/MM, 10.22 and 28.9.43, AMP.

146. HM/MM, 7.11.43, AMP, and see HM/PM, 12.2.45, PMP.

147. HM/MM, 1.10.43, AMP.

148. My account of this episode based on Résistantes see n. 28 above, and HM/MM, 7.8.43, AMP.

149. MM/HM, 23.11.43, AMP.

150. HM/MM, 31.1 and 2.2.44, AMP.

151. HM/MM, 7.3.44, AMP.

152. HM/Mme. Thorndike, 1.2.44, Getty.

153. HM/MM, 28.11.44, AMP.

154. B. Parayre/PM, 20.1.42, PMP.

155. Nelck, p. 35.

156. Ibid., pp. 10 and 13.

157. Ibid., p. 84.

158. Information from LD.

159. Camoin, p. 200.

160. HM/MM, 28.12.45; my account of HM’s response to these arrests is based on family correspondence, on conversations with Claude Duthuit and Gérard Matisse, and on Résistantes,” see n. 28 above. Ignorance or misunderstanding of the background to this affair seems to be largely responsible for the widespread assumption that HM supported the Vichy régime, and for the preposterous corollary recently circulated in the United States that he actively collaborated with the Nazis. The only reputable source for these baseless claims seems to be Michèle C. Cone, Artists under Vichy: A Case of Prejudice and Persecution (Princeton, 1992), which states accurately enough that HM published two illustrated books with Fabiani in 1943 and 1944 respectively (p. 49), and that he failed to raise political issues in two wartime interviews with Gaston Diehl (pp. 50–51). Cone goes on to speculate (on the evidence of a single remark to a Danish critic in 1924) that HM may have approved of the Vichy régime (p. 52), and concludes that he was the model for a collective escapism among French artists, which she equates with psychological collusion or passive collaboration with the Fascist authorities (p. 180). Cone adduces no documentary or other support for her conclusions, which leave out of account HM’s precarious medical condition, his fear of further endangering his daughter, and his responsibility for LD’s safety as well as the blanket censorship operated by both Vichy and Nazi rulers. For HM’s attempt to make his views publicly known in 1941–42, see pp. 396 and 407, and nn. 47 and 49.

161. HM/MM, 9.11.44, AMP.

162. Nelck, pp. 98 and 111 the next quote from ibid., p. 107.

163. Camoin, p. 205.

164. Nelck, p. 110.

165. HM/C. Camoin, 6.9.44, Camoin, pp. 207–8.

166. See Alain le Grand and G-M. Thomas, 39–45 Finistère (Brest-Paris, 1987), pp. 306–7; Rennes was liberated on 7 August.

167. Camoin, p. 212.

168. MM/HM, 10.10.44, AMP; and see Camoin, p. 210.

169. HM/MM, 24 and 29.10.44, AMP.

170. This account of Marguerite Duthuit’s interrogation in the Jacques Cartier Prison, her deportation and subsequent escape based on Résistantes,” see n. 28 above; MD’s letters to her father in the autumn of 1944; Grand and Thomas, 39–43 Finistère, pp. 307–9; and Roger Faligot and Rémi Kauffer, Service Β (Paris, 1985), pp. 227–46.

171. Telegram MM/HM, Jan. 1945, AMR

172. MM/HM, 16.11.44, AMP.

173. HM/PM, 15.1[2].45, PMP.

174. Finsen, L456, p. 301.

175. HM/PM, 12.2.45, PMP.

176. MM/HM, 5.1.45, AMP.

177. Finsen, L457, p. 302.

CHAPTER TWELVE

1. Information from Jean Darquet, interviewed by David Thompson for BBC Omnibus in 2002.

2. Gilot, p. 22; the visit took place in March 1946 (HM/PM, 19.3.46, PMP), but the painting was The Egyptian Curtain of 1948, so this must be a composite memory.

3. Fourcade, p. 244.

4. Aragon 1, p. 231.

5. André Verdet, Prestiges de Matisse (Paris, 1952), p. 48.

6. HM/AR, 16.12.43, Finsen, p. 283, and HM/MM, n.d. [March 1943] and 4.1.44, AMP.

7. Courthion, p. 139.

8. This and the following quote from HM/MM, 11.2.45, AMP.

9. Flam 3, p. 379.

10. Gilot, p. 71.

11. Nelck, p. 82.

12. Couturier, p. 135.

13. Gilot, p. 73.

14. Courthion, p. 134, and see Spurling, p. 24.

15. Verdet, Prestiges de Matisse; see also HM/T. Pallady, 7.12.41, Brezianu.

16. HM/AR, 18.8.43, Finsen, p. 281.

17. I am grateful to Aldo Crommelynck for this first-hand account of watching HM at work after the war.

18. Courthion, p. 139.

19. Flam 3, p. 378.

20. Camoin, p. 218, n. 1.

21. Richard Buckle, Diaghilev (London, 1979), p. 377.

22. Escholier, p. 207.

23. Information from LD (the packet contained the cover of Pasiphaë, printed on the presses of Nice Matin for forwarding to Fabiani).

24. HM/AR, 25.1.44, Finsen, p. 287.

25. Information from LD (who subsequently presented both paintings to the Hermitage Museum).

26. AR/HM, Easter and 30.10.42, Finsen, p. 108.

27. Nelck, p. 87.

28. Nelck, p. 98; the next two quotes from ibid., pp. 58 and 56.

29. Ibid., p. 64, and see p. 101.

30. HM/PM, 18.3.45, PMP.

31. Nelck, p. 106.

32. HM/PM, 14.5.45, PMP.

33. AM/HM, 15.10.45, AMP.

34. Information from LD.

35. Vassaux cited in MM/PM, 14.4.45, PMP.

36. L. Vassaux/HM 24 and 30.4.45, AMP.

37. Information from LD, and from Michel Gueguen in Concarneau; and see Spurling, p. 77.

38. HM/AR, 30.1.46, Finsen, p. 356.

39. HM/Georges Salles, ts. draft 1945, AMP.

40. This and the following quote from HM/AR, 19.7.45, Finsen, p. 319.

41. HM/AM, 25.10.45, AMP, and information from LD.

42. MM/HM, 22.3.45, AMP.

43. This episode related in HM’s letters to MM, AMP.

44. HM/Marcelle Marquet, 17.4.48, AMP.

45. HM/MM, 21.11.44, AMP.

46. PM/HM, 24.4.46, PMP (France’s acquisition of HM’s paintings after the war was thanks to the director of the Musée d’Art Moderne, Jean Cassou).

47. HM/Mqt, 3.1.46, AMP.

48. Information from LD.

49. Aragon 1, p. 240.

50. Nelck, p. 93.

51. This and the next quote from HM/MM, 28.12.47, AMP.

52. Information from LD.

53. Bonnard, p. 126.

54. PM/HM, March 1946, PMP.

55. HM/PM, 5.4.48, PMP.

56. I am grateful to the sculptor Bryan Kneale for passing on this eye-witness account from his brother, Nigel Kneale.

57. Jean Cassarini, Matisse à Nice 1916–54 (Nice, 1984), n.p.

58. PM/HM, 22.3.46, PMP.

59. Auguste Matisse/HM, 27.8.45 and n.d. [summer 1945], AMP.

60. AR/HM, 24.2.46, Finsen, p. 398.

61. Marcelle Marquet, p. 137; and see HM/Mgt, 3.3.41, AMP.

62. Nelck, p. 126.

63. HM/MM, 28.12.47, AMP.

64. Bussy, J. S., p. 83.

65. Gilot, p. 90.

66. Fernand Mourlot, Gravés dans ma mémoire: Cinquante ans de lithographie avec Picasso, Matisse, Chagall, Braque, Miro (Paris, 1979). p. 109.

67. HM/PM, 19.3.46, PMP.

68. Gaston Diehl, La Peinture en France dans les années noires 1935–45 (Paris, 1999), p. 53; further information from LD.

69. HM/AR, n.d. [June 1943], Finsen, p. 270.

70. AR/HM, 30.12.45, Finsen, p. 341 and n. 2.

71. HM/PM, 30.11.45, PMP.

72. Soeur Jacques, p. 16.

73. Ibid., p. 104.

74. Aragon 1, p. 208, n. 1.

75. Laudon, p. 131.

76. My account of this episode based on information from LD; for a fuller version, see Dominique Szymusiak, “Océanie le ciel, Océanie la mer,” in Matisse 1998.

77. HM/P. Rosenberg, 2.6.46, Pierpont Morgan Library, New York.

78. HM/MM, 15.10.47, AMP.

79. HM’s account from Jazz, 1947; see also Olivier Berggruen and Max Hollein, eds., Henri Matisse: Drawing with Scissors. Masterpieces from the Late Years, ex. cat. (Berlin, 2003), pp. 50–52.

80. Marcelle Marquet, Marquet (Paris, 1951), p. 99.

81. HM/G. Besson, 16.4.47, and HM/MM, 25.5.47, AMP.

82. HM notebook, 1946, ts., PMP.

83. Henri Matisse: Ten Drawings of Paul Matisse, ex. cat. (Thomas Gibson Fine Art: London, 1971).

84. Janet Flanner, Men and Monuments (London, 1957), p. 130.

85. Soeur Jacques, pp. 66–67.

86. Nelck, p. 148.

87. Aragon 2, p. 222.

88. Couturier, p. 449; see also Frère D. Bonnet, “Le Père Rayssiguier, architecte de Vence et de St Rouin,” L’Art sacré (November—December 1961).

89. Couturier, p. 36.

90. Ibid., p. 40, and see Soeur Jacques, p. 76.

91. Soeur Jacques, p. 70.

92. Ibid., p. 79.

93. HM/MM, 28.12.47, AMP; see also HM/AR, 25.12.47, Finsen, p. 478.

94. Couturier, p. 206.

95. HM/PM, 9.3 and 28.4.48, PMP.

96. Couturier, p. 47.

97. Ibid., p. 62.

98. Schneider, pp. 739–40.

99. Couturier, p. 73.

100. Soeur Jacques, p. 168.

101. Couturier, p. 71.

102. Ibid., p. 90.

103. Ibid., pp. 78 and 101.

104. HM/PM, 16.11.48, PMP.

105. Jacqueline Duhême, Passion Couleurs: Entretiens avec Florence Noiville (Paris, 1998), p. 42.

106. Couturier, p. 86.

107. See Spurling:, p. 80.

108. Couturier, p. 101.

109. Ibid., p. 128.

110. Nelck, p. 43.

111. Couturier, p. 129,

112. Ibid., p. 111.

113. Couturier, p. 110.

114. Ibid., p. 128.

115. Ibid., p. 299.

116. Interview with Paule Caen-Martin, Paris, 16.2.94.

117. Bonnet, “Le Père Rayssiguier.”

118. This and the following quote from Couturier, p. 141.

119. Ibid., p. 160, and Nelck, p. 143.

120. Couturier, p. 271.

121. Ibid., pp. 226, 229 and 230.

122. Soeur Jacques, p. 96 (for the article by Rosamond Bernier, see Vogue, 15.2.49).

123. Ibid., p. 119; and see p. 72.

124. Ibid., p. 132; and see pp. 81–82.

125. Couturier, p. 78.

126. This account based mainly on information from LD, and from Paule Caen-Martin.

127. Interview with Claudie Pleinte, Nice Matin, 16.11.54.

128. Paule Caen-Martin.

129. Escholier, p. 206.

130. Duhême, Passion Couleurs, p. 41.

131. Paule Caen-Martin.

132. Barr, p. 266, and PM/HM, 25.2.49, PMP.

133. J. Bussy/V. Bell, 28.1.50, Tate Gallery archive, London.

134. Couturier, p. 339.

135. Ibid., p. 298.

136. HM/PM, 28.1.52, PMP.

137. Couturier, pp. 113–14, 355, 384 and 449; Mourlot, Gravés dans ma mémoire, p. 116.

138. Couturier, p. 358.

139. HM/L. Vassaux, 6.1.51 (in the possession of Madeleine Vincent).

140. Couturier, p. 455.

141. Ibid., p. 416, and see p. 455.

142. Flanner, Men and Monuments, p. 123.

143. Soeur Jacques, p. 144.

144. HM/PM, 15.10.51, PMP.

145. “I Said No to Art Lessons with Matisse,” interview with Denise Arokas, Daily Telegraph, London, 7.2.2001.

146. Couturier, p. 425, and see Gowing, pp. 190 and 192.

147. HM/PM, 16.5.52, PMP, and Matisse 1989, pp. 381–82.

148. HM/PM, 24.11.46, PMP, and HM/MM, 2.12.46, 7.1.47 and Nov. 1947, all AMP.

149. Barr’s seven questionnaires and the relevant correspondence with PM, Monroe Wheeler and John Rewald are among his papers at MoMA.

150. Ts. of Barr’s speech, 13.11.51, Barr papers, MoMA; see also Barr, pp. 154; 540, nn. 1, 2 and 3; 262, n. 3; and 263.

151. Information from LD.

152. Draft of HM/B. Ternovets, 27.6.46, AMP; see also Gordon Knox/A. Barr, 12.12.49, and Spencer E. Roberts/A. Barr, 16.4.51, Barr papers, MoMA.

153. Couturier, p. 60, and Escholier, p. 262.

154. For a fuller account of this discrepancy, see HS, “Two for the Road,” Art in America (January—March 2003).

155. “A Visit to Matisse,” ts. by Derek Hill, kindly shown me by the author.

156. G. Salles, “Matisse,” Art News Annual, no. 21 (1951): p. 37.

157. Verdet, Prestiges de Matisse, pp. 16 and 21.

158. Information from Paule Caen-Martin.

159. HM/PM, 12.10.52, PMP.

160. Verdet, Prestiges de Matisse.

161. HM, 1946 notebook, ts., PMP.

162. HM/PM, 21.11.52, PMP.

163. HM/Henri Donias, 13.12.53, Getty.

164. Soeur Jacques, p. 153.

165. HM/MM, 28.5.42, AMP.

166. Escholier, p. 208.

167. Gilot, p. 313, and see Couturier, p. 416.

168. Statement by Dr J. L. Bourliachon, 22.8.57, AMP.

169. Delectorskaya 2, p. 546.

170. AM/PM, 18.3.55, PMP.