Henri Matisse
The Dance
Summer 1932 - April 1933. Oil on canvas; three panels
When Matisse traveled to the US in 1930, he made a special trip to the Barnes Foundation since the collection held so many of his works. During his visit, Albert Barnes asked the artist to create a massive painting to fill the lunettes of his gallery. Matisse chose the subject of dancing figures and set to work in a specially rented warehouse in Nice, France. The work is on three separate canvases; look carefully and you can see where their edges meet. It is the only site-specific work in the collection.
Matisse stayed only a few hours at the Barnes Foundation on the morning of his first visit there [September 27, 1930], during which it seems likely that the collector proposed the commission of the mural. Barnes gave Matisse free reign in the choice of subject matter; the agreement simply specified the size of the mural and its place on the southeast wall of the Main Gallery. Matisse seems to have settled on the dance theme early on. The Barnes Foundation gave him an opportunity to reclaim his position as a leading figure in the tradition of decorative mural painting, and to do it publicly and on a grand scale. In 1930, the Foundation's Main Gallery housed some of the most important paintings of the second half of the 19th century; these too would offer the artist both challenge and opportunity. The challenge for Matisse was to situate himself within the French tradition of decoration while at the same time reasserting his work as avant-garde. The choice of dance as a motif, particularly the depiction of timeless nudes dancing in a circle, not only acknowledged the classical tradition but allowed him to establish the continuity of his own work. Decorations were large-scale pictures designed to be integrated within a specific environment, whether a private dining room or a space in a public institution. The decorative was a way of painting and thinking that drove all of Matisse's artistic production. Matisse aimed for a kind of painting whose form is not so much closed and unified as it is taut and expanding, and whose surface comprises large zones of flat colors that resist the typical illusion of depth and its invitation to gentle contemplation. Instead the colors push beyond the four sides of the canvas, engaging the spectator in a dynamic visual experience. It was clear from the beginning that an appropriate design for the space where The Dance was to hang would be difficult to devise. The mural was to fill an area high on the south wall of the Main Gallery, above three French doors and below the curving arches of the ceiling. Two pendentives drop down to divide the space into three semicontinuous lunettes. Once Matisse had finalized the agreement, he returned to Nice to begin working on the mural, arriving there in mid-January 1931. He first rented a vacant garage where he could work to scale. He would soon begin to draw the entire motif on these full-scale canvases. At some point in this process, Matisse began to apply paint to the canvases. He preferred to work directly on the canvas with little preliminary study in any detail, but he ran up against a problem: the mural was too large to accommodate changes. To erase paint with a turpentine-soaked rag, or to cover over an earlier stage, was a much bigger project than in a small easel painting. Also, he was now over 60 years old, and just the act of repeatedly drawing the design had exhausted him. Thus he developed a design process using paper cutouts: instead of painting directly on the canvas, he cut out pieces of colored paper and pinned them to the surface of the unfinished, partly painted mural. After arriving at the final design, the paper would be traced and removed and the canvas would be painted with oil paint following the colors and forms of the planes made of cutout pieces of paper. It was not until February 22, 1932, after a meeting with Barnes in Paris, that Matisse realized that the dimensions were incorrect: in his design the pendentives were half their actual width, approximately half a meter instead of one meter wide. All of the drawings and color studies up to this point were now set aside; Matisse began again. This time he knew what he wanted to do and worked much faster. After making doubly sure that he had the correct measurements, he set out three canvases and drew in the new group of dancers. He also redesigned the composition. Where he had earlier created a continuous plane of action, he now divided the work into three centers of interest--perhaps in response to the recalculated size of the pendentives, twice as wide as in the earlier plan. He also increased the number of figures from six to eight, setting two dancers in each of the three lunettes and adding a pair of nymphs, one under each of the pendentives, as a transition from one lunette to the other. This sense of enlargement, fragmentation, and movement was designed to engage the viewer in an active, participatory relationship with the environment of the surrounding room. Color was particularly important here; the panels' black grounds, Matisse explained, continued the area between the doors, creating the appearance of a "monumental support for the vault." The black also served as a contrast to the areas of bright light entering the room through the French doors. The gray color of the figures was intended to evoke the stone of the surrounding architecture, and the blue and pink to suggest the sky above the landscape visible through the doors. The green of the lawn, trees, and shrubs was also part of the color chord. Matisse believed that by displacing the area of contrast from the gray wall between the French doors to the space above them, he had united the entire wall from floor to ceiling and from side to side. Karen K. Butler, Matisse in the Barnes Foundation, vol. 3 (New York: Thames & Hudson, 2015), 31-57.
Baldassari, Anne, Elizabeth Cowling, John Elderfield, John Golding, Isabelle Monod-Fontaine and Kirk Varnedoe. Matisse-Picasso. London: Tate Publishing, 2002, 21-2, 233, 237, 248, 283, 317, 375, 377.
The Barnes Foundation Handbook. Philadelphia: The Barnes Foundation, 2021, 16, 33, 134.
Barr, Alfred Hamilton. Matisse: His Art, His Public. New York: Museum of Modern Art, 1951, 220.
Bois, Yve-Alain. Matisse in the Barnes Foundation. Vol. 1. New York: Thames & Hudson; 2015, 131, 134, 138, 144, 41, 43, 44, 45, 49, 52, 57 fn. 73, 58 fn. 84, 93, 112, 118, 164 fn. 87, 167 fn. 146, 167 fn. 146, 168 fn. 168, 169 fn. 188, 184-85, 197 fn. 62-64. --.Vol. 2. New York: Thames & Hudson; 2015, 181, 357-58. --. Vol. 3. New York: Thames & Hudson; 2015, 25-27 ill., 24-69, 207-84, cat. 50.
Brookes, Karin ed. Tempo (July/August/September 2003): 18-9.
Charbonnier, Georges. "Entretiens avec Henri Matisse." In Matisse on Art, edited and translated by Jack D. Flam. New York: Phaidon, 1973, 139. First published in Le Monologue du peintre. Vol. 2 (Paris: R. Julliard, 1960).
Debray, Cecile. Matisse in Son Temps. Martigny, Switzerland: Fondation Pierre Gianadda, 2015.
National Gallery of Art, Washington, D.C., May 2, 1993 - October 1994; Musée d' Art de Moderne de la ville de Paris, Paris, November 18, 1994 - March 6, 1995; Philadelphia Museum of Art, March 27-June 12, 1995, "Great French Paintings from The Barnes Foundation: Impressionist, Post-Impressionist, and Early Modern" with the title "Matisse's The Dance."
Commissioned by Albert C. Barnes from the artist, agreement was finalized, December 20, 1930 [1], final payment was made, May 15, 1933 [2].
[1] Albert C. Barnes, letter to Henri Matisse, December 20, 1930. The first payment to the artist, is noted on December 20, 1930, in Ledger P–Z, 1922–1950, Barnes Foundation Financial Records, Barnes Foundation Archives. The check stub for this payment reads, "no. 4698, December 20, 1930, Henri Matisse, 1st payment on paintings for S.E. wall of gallery, $10,000," Barnes Foundation Checkbook and Ledger, June 4, 1931–February 15, 1932, Barnes Foundation Financial Records, Barnes Foundation Archives.
[2] The second and third payments are noted on June 16, 1931, and May 15, 1933, in Ledger P–Z, 1922–1950, Barnes Foundation Financial Records, Barnes Foundation Archives. The second payment is noted in the Girard Trust Checkbook and Ledger, June 4, 1931–February 15, 1932, with the check-stub inscription "6/16/31, Henri Matisse—$10,000.— Ck# B70," Barnes Foundation Financial Records, Barnes Foundation Archives. The check stub for the third payment, on May 15, 1933, reads "no. 6506, May 15, 1933, Henri Matisse, Final payment on Mural Decorations, 10,000," Girard Trust Checkbook and Ledger, June 4, 1931–February 15, 1932, Barnes Foundation Financial Records, Barnes Foundation Archives.
Telegram. Henri Matisse to Albert C. Barnes, September 20, 1930. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1930.393);
Telegram. Albert C. Barnes to Henri Matisse, September 20, 1930. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1930.393);
Handwritten note transcribing telegram. Henri Matisse to Albert C. Barnes, c. September 20, 1930. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1930.393);
Telegram. Henri Matisse to Albert C. Barnes, September 28, 1930. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1930.393);
Telegram. Albert C. Barnes to Henri Matisse, September 29, 1930. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1930.393);
Letter. Albert C. Barnes to Henri Matisse, September 29, 1930. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1930.393);
Cable. Henri Matisse to Albert C. Barnes, December 8, 1930. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1930.393);
Telegram. Albert C. Barnes to Henri Matisse, December 13, 1930. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1930.393);
Draft of letter/contract. The Barnes Foundation Treasurer to Henri Matisse, December 20, 1930. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1930.393);
Letter/contract. The Barnes Foundation Treasurer to Henri Matisse, December 20, 1930. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1930.393);
Letter. The Barnes Foundation to Henri Matisse, December 21, 1930. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1930.393);
Typed notes. The Barnes Foundation, [December 1930]. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1930.393);
Handwritten letter. Henri Matisse to the Barnes Foundation, January 1, 1931. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1931.399);
Letter. Henri Matisse to Albert C. Barnes, January 16, 1931. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1931.399);
Handwritten note transcribing telegram. Henri Matisse to Albert C. Barnes, March 10, 1931. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1931.399);
Telegram. Albert C. Barnes to Henri Matisse, March 10, 1931. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1931.399);
Draft of letter. Albert C. Barnes to Henri Matisse, March 20, 1931. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1931.399);
Letter. Albert C. Barnes to Henri Matisse, March 20, 1931. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1931.399);
Telegram. Henri Matisse to Albert C. Barnes, March 22, 1931. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1931.399);
Letter. Henri Matisse to Albert C. Barnes, April 24, 1931. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1931.399);
Letter. Albert C. Barnes to Henri Matisse, May 5, 1931. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1931.399);
Letter. Henri Matisse to Albert C. Barnes, May 15, 1931. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1931.399);
Letter. Edward Dreibelbies to The Barnes Foundation, August 2, 1931. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1931.399);
Letter. Marguerite Duthuit to [Violette de Mazia], August 26, 1931. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1931.399);
Letter. Violette de Mazia to Marguerite Duthuit, September 11, 1931. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1931.399);
Draft of letter. Albert C. Barnes to Henri Matisse, October 21, 1931. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1931.399);
Letter. Albert C. Barnes to Henri Matisse, October 21, 1931. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1931.399);
Letter. Henri Matisse to Albert C. Barnes, November 6, 1931. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1931.399);
Telegram. Henri Matisse to Albert C. Barnes, February 2, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.625);
Telegram. Albert C. Barnes to Henri Matisse, February 2, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.625);
Letter. Albert C. Barnes to Henri Matisse, February 2, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.625);
Telegram. Henri Matisse to Albert C. Barnes, February 21, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.625);
Telegram. Albert C. Barnes to Henri Matisse, February 21, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.625);
Telegram. Henri Matisse to Albert C. Barnes, February 22, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.625);
Letter. Albert C. Barnes to Georges Keller, February 22, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.290);
Letter. Henri Matisse to Albert C. Barnes, February 23, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.625);
Telegram. Albert C. Barnes to Henri Matisse, February 27, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.625);
Letter with drawings. Albert C. Barnes to Albert Nulty, June 12, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.625);
Letter and enclosure. Albert Nulty to Albert C. Barnes, June 21, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.625);
Letter. Albert C. Barnes to Henri Matisse, July 1, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.625);
Letter. Henri Matisse to Albert C. Barnes, July 6, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.625);
Letter. Henri Matisse to Albert C. Barnes, August 8, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.625);
Letter. Henri Matisse to Albert C. Barnes, November 11, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.625);
Letter. Albert C. Barnes to Henri Matisse, November 28, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.625);
Letter. Henri Matisse to Albert C. Barnes, December 6, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.625);
Letter. Henri Matisse to Albert C. Barnes, December 8, 1932. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1932.625);
Telegram. Henri Matisse to Albert C. Barnes, January 5, 1933. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1933.330);
Handwritten note transcribing telegram. Henri Matisse to Albert C. Barnes, [c. April 19, 1933]. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1933.330);
Telegram. Albert C. Barnes to Henri Matisse, April 19, 1933. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1933.330);
Transcription of telegram. Henri Matisse to Albert C. Barnes, April 21, 1933. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1933.330);
Transcription of telegram. Albert C. Barnes to Henri Matisse, April 22, 1933. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1933.330);
Transcription of telegrams. Henri Matisse to Albert C. Barnes, April 23, 1933. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1933.330);
Telegram. Henri Matisse to Albert C. Barnes, May 3, 1933. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1933.330);
Shipping invoice. Calviera & Goiran to Henri Matisse, May 4, 1933. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1933.330);
Transcription of telegram. Henri Matisse to Albert C. Barnes, May 6, 1933. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1933.330);
Transcription of telegram. Albert C. Barnes to Henri Matisse, May 6, 1933. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1933.330);
Letter. Albert C. Barnes to Henri Matisse, May 9, 1933. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1933.330);
Handwritten note transcribing telegram. Henri Matisse to Albert C. Barnes, May 18, 1933. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1933.330);
Letter. Henri Matisse to Albert C. Barnes, May 19, 1933. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1933.330);
Transcription of telegram. Albert C. Barnes to Henri Matisse, undated. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1933.330);
Transcription of telegram. Henri Matisse to Amelie Matisse, undated. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1933.330);
Draft of postcard. Albert C. Barnes to Henri Matisse, January 17, 1934. Albert C. Barnes Correspondence, Barnes Foundation Archives (AR.ABC.1934.337);
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