UCCA Center for Contemporary Art and Musée départemental Matisse, Le Cateau-Cambrésis collaborate to present the Chinese Mainland’s first comprehensive Henri Matisse exhibition, “Matisse by Matisse.” The exhibition offers an unparralleled portrait of the twentieth century Modernist master and inventor of Fauvism, featuring more than 280 artworks as well as textiles and more from the artist’s own collection. After a successful debut in UCCA Beijing, UCCA Edge invites audiences in Shanghai to explore the creative practice, artistic achievements, and incredible life of Henri Matisse.

From November 4, 2023 to February 18, 2024, UCCA Center for Contemporary Art presents “Matisse by Matisse” at UCCA Edge, Shanghai, in collaboration with Musée départemental Matisse, Le Cateau-Cambrésis. The exhibition is the first and most comprehensive presentation in the Chinese Mainland to date of the life and work of Matisse (1869-1954) – founder and key representative of Fauvism, one of the most influential art movements of the twentieth century. During its debut in UCCA Beijing, the exhibition attracted over 200,000 visitors to admire Matisse’s life-long creative journey through a systematic retrospective of how his artistic philosophies and styles evolved over time, making it one of the most phenomenal exhibitions in Beijing in 2023.

The exhibition features more than 280 works by the artist, along with handicrafts and other objects he himself collected, all drawn from the collection of Musée départemental Matisse, Le Cateau-Cambrésis. It covers Matisse’s entire career and the full range of his practice, encompassing mediums including oil painting, sculpture, ink drawings, prints, cut-outs, illustrations, and textiles. “Matisse by Matisse” includes the artist’s academic beginnings; pieces representative of his turn towards Fauvism; experiments leading to his invention of the paper cut-outs later in life; and works from the culmination of a lifetime of artistic exploration, his design of the Vence Chapel. Additionally, the exhibition also features a special section exploring the influence of Matisse and Fauvism on the modern art movement that emerged in China between the 1920s and 1940s.

After the recent sesquicentennial of Matisse’s birth, this valuable collection now has the unique opportunity to make its way to China. “Matisse by Matisse” is more than just another presentation of the artist’s masterpieces, but also a continuation and complement to his works that were shown at “Modern Time: Masterpieces from the Collection of Museum Berggruen / Nationalgalerie Berlin,” an exhibition that recently closed at UCCA Edge. With a systematic analysis of his life and work, accompanied by his initial donation to Musée départemental Matisse seven decades ago, “Matisse by Matisse” invites audiences in China to embark upon an unparalled journey and explore the creative practice, artistic achievements, and incredible life of the modern master.

Born on December 31, 1869, in Le Cateau-Cambrésis, northern France, Matisse came from a textile family that had been in the business for over 300 years. Two years before his death, Matisse bequeathed the most prized works from his own collection to his hometown, establishing the core of the collection of Musée départemental Matisse, Le Cateau-Cambrésis. He took care in choosing the pieces and was involved in the design of the original gallery spaces, down to the details of the display of each artwork. This was the only museum that Matisse would personally participate in the planning and founding of. The title “Matisse by Matisse” is inspired by this high level of involvement, emphasizing Matisse’s role as “curator.” The exhibition may thus be regarded as a unique artistic legacy left behind by the artist, exemplifying most directly and intimately his artistic practice, creative processes, and ideas about art.

“Matisse by Matisse” is organized into eleven sections, following the chronology of the artist’s life and career, presenting over 280 precious pieces in the three-floor, 1700 square meters exhibition space at UCCA Edge. Taking inspiration from Matisse’s works, each exhibition room is specially designed with the roofs and wall decorations in the shape of colorful paper cut-outs, creating a unique visual experience for the viewers. While paying tribute to Matisse’s role in the birth of Fauvism, and how his bold innovations in color and style broke with traditional aesthetic frameworks, this design approach helps viewers “immerse themselves into colors”, an effect that Matisse always wanted to create with his artworks.

The exhibition’s first section “The Origins of the Musée Matisse,” introduces how the museum in the artist’s hometown came about, narrated in part by a letter Matisse wrote on the occasion of his initial donation, which today forms the core of this exhibition. The subsequent sections, therefore, not only represent a systematic retrospective of Matisse’s art, but also the artist’s summing up of and concluding statement on his own lifelong practice. The second section, “The Making of Matisse,” looks at how the artist studied technique and built up his skills in the early days of his artistic career. During this period, Matisse copied the works of masters, completing The Ray (After Chardin) (1897-1903) over six years; undertook self-portrait studies such as Self-Portrait (1900); and was inspired by new light and colors encountered on his travels, as seen in First Orange Still Life (1899). These early works would lay a crucial foundation for his later artistic breakthroughs. The third section “The Fauvist Revolution,” focuses on the artistic rebellion that Matisse sparked. Pieces include Collioure, Sun Street (1905) and Seashore in Collioure (1905), both inspired by the colorful, sun kissed fishing village of the title, and Iris and Poppies I and II (Tangier, c. spring 1912), which the artist retained in his personal collection throughout his life. These groundbreaking pieces reveal how Matisse used pure color to upend the restraints of conventional painting, opening up a new chapter in the history of the medium.

Next, “The 1920s: The Majesty of the Model” turns to the new path that Matisse embarked upon as Europe went through a period of cultural and artistic flourishing following the end of World War I. Small Thin Torso (1929), Large Odalisque with Bayadere Trousers (1925), Drawing for Henriette II (c. 1928), Nude in a Room with a Venetian Lamp and Goldfish (1929), and other works demonstrate how Matisse explored different ways of depicting the body in sculptures, sketches, and prints, and other media. Many of his paintings of the time feature atmospheric, prop-filled settings, and African and Asian-inspired clothing draped over models’ graceful bodies, imbuing works with an intriguing sense of narrative. “Vence, the Final Masterpiece” presents how, at age 80, Matisse began to design the Vence Chapel, a project that is regarded as the apex of his long career. A mock up for a white and golden chasuble from late 1950, a study for a liturgical tablecloth from 1949, Virgin and Child (1950-1951), and other works evidence how, over a four year period, Matisse designed every element of the chapel, including the architecture, frescoes, stained-glass windows, chasubles, and liturgical materials. As always, he sought to achieve the optimal balance between line and color. The sixth section, “The Cut-Outs,” introduces the new medium that he invented and would almost exclusively dedicate the rest of his career to. From the cover mock-up for The Decisive Moment: Photographs of Henri Cartier-Bresson (1952), to Icarus (1947), Arabesque (1947), and the book Jazz (1947), one may observe how Matisse refined the expressiveness and potential applications of paper cutting. What at first had been a means for him to test ideas for larger format works gradually developed into a full-fledged artistic medium, one that could also be used in the design of murals, textiles, stained glass windows, books, and more. Matisse’s technical invention of gouache paper sparked one of the most significant artistic revolutions of the twentieth century, and saw him finally resolve the relationship between drawing and color.

The following section, “Voyage to Tahiti,” examines the impact that Matisse’s 1930 trip to French Polynesia had on his practice. At a crossroads and facing illness as he reached the age of 60, Matisse decided to throw himself into a new challenge, traveling to Tahiti to search for new forms of light. He would slowly digest the insights gleaned in the Pacific over the next few years, eventually producing groundbreaking works such as Window in Tahiti or Tahiti II (18 December 1935 – 15 March 1936), Oceania, The Sky (1946), and Oceania, The Sea (1946). As a transcendent, almost spiritual experience, the trip not only transformed Matisse’s perceptions, but also would eventually inspire his great innovation, the paper cut-outs. In “Matisse and Textiles,” visitors will find clothing from the artist’s own collection, as well related artworks. These include the tapestry Woman with a Lute (May 14, 1949-October 23, 1950) along with some of the last oil paintings Matisse made prior to his death, such as Woman in the Blue Gandoura (December 1951). As the scion of a textile family, the aesthetics of exquisite fabrics left a deep impression on him even before he had encountered oil painting, and they would become a fruitful source of inspiration in his work. He collected fabrics, calling them his “working library,” and deployed his understanding of textile production to design clothing, tapestries, carpets, silk scarves, and more, even applying this knowledge to design costumes and sets for stage productions. One may consider this another artistic revolution that Matisse started in addition to Fauvism.

The nineth section, “The 1940s: The Peak of Accomplishment,” shows how, despite World War II (which directly affected his family), Matisse took his oil painting and sketches to a new level in the 1940s and early 1950s. The rich colors of Two Young Girls, The Yellow Dress and the Scottish Dress (Nice, November 2-16, 1941) and the ink lines of Portrait of Katia (June 14, 1951) move closer to reconciling the tension between form and color, a question that he had grappled with since the beginning of his career. Additionally, the radical style of Interior with Bars of Sunlight (October 22-23, 1942), verging on abstraction, marks a significant departure in Matisse’s practice that would inspire many later generations of artists. The tenth section, “Matisse and Illustrated Books,” introduces viewers to another important area of the artist’s practice: book illustrations and cover designs. Featured artworks included illustrations he created for his first book, an edition of Poems by Stéphane Mallarmé, and cover designs for the French art magazine Verve, one of the most influential arts publications in Europe during the 1940s. Illustration was a creative playground for Matisse, allowing him to freely apply all the different techniques he drew upon in his varied practice. In addition to books designed by Matisse, this section also presents art books by Giacometti, Picasso, Léger, and Chagall, revealing to viewers how close collaboration between the worlds of literature, art, and publishing led to a flourishing of creativity in mid-twentieth century Europe.

The final section, “Matisse, Fauvism, and Modern Chinese Painting,” organized by UCCA Deputy Director of Research Huang Jiehua, discusses how the works of Matisse and other artists associated with Fauvism spread to China and influenced the modern painting movement that emerged from the 1920s to 1940s. Through archival materials and works by major artists including Sanyu, Liu Haisu, Ting Yin Yung, and Guan Liang, among others, the section traces the transmission of Matisse’s art from France to China (often via Chinese artists studying in Japan), and the impact that his style had on a vibrant, yet precarious, art scene framed by the complex interplay between Modernism, nationalism, traditional techniques, and political activism. Dusting off a forgotten corner of the “prehistory” of Chinese contemporary art, the section reveals how Matisse inspired Chinese artists to create revolutionary new work.

UCCA Director Philip Tinari notes, “UCCA is honored to bring ‘Matisse by Matisse’ to Shanghai, a city that has always been at the heart of China’s modern art movement. Matisse’s work was already being discussed here over 100 years ago. We look forward to sharing this rich and nuanced exhibition with Shanghai’s discerning audience, and hope that these works will bring joy to the public.”

Director and Chief Curator of Musée départemental Matisse, Patrice Deparpe took reference from Matisse’s speech at the museum inauguration November 8, 1952, “The relentless work of the Musée départemental Matisse is intended for the great human family to which a little must be revealed of the fresh beauty of Matisse's world.”

“Matisse by Matisse” is curated by Patrice Deparpe, Director and Chief Curator, Musée départemental Matisse, Le Cateau-Cambrésis. The exhibition is designed by Pascal Rodriguez and coordinated by the art and culture agency Doors 门艺. “Matisse by Matisse” is presented with special support from the French Embassy in China.

Support and Sponsorship

UCCA thanks Presenting Sponsor NIO, Supporting Coffee Sponsor Bernachon, and Supporting Sponsor Kiri and Turkish Airlines for their generous support. Exhibition Support is provided by Shanghai International Culture Association. Exclusive wall solutions support is provided by Dulux. Gratitude to Lead Exhibition Social Media Platform Collaborator Xiaohongshu for their promotional support. UCCA also thanks the members of UCCA Foundation Council, International Circle, and Young Associates, as well as Lead Partner Aranya, Lead Art Book Partner DIOR, Presenting Partners Bloomberg, Voyage Group, Yinyi Biotech, and Supporting Partners Barco, Dulux, Genelec and Stey.

Publications

In conjunction with “Matisse by Matisse,” UCCA Center for Contemporary Art has produced a bilingual catalogue documenting this landmark exhibition in collaboration with Zhejiang Photographic Press. Mirroring the structure of the show, the catalogue is divided into 11 sections and includes more than 300 artwork reproductions and archival photographs. The book includes an essay by exhibition curator Patrice Deparpe retracing the artist’s remarkable life and career. Another text by Guangzhou Academy of Fine Arts Professor Cai Tao explores Matisse and Fauvism’s influence on the modern Chinese art movement from the 1920s to the 1940s. The catalogue is designed by Luk Chi-Cheong.

Furthermore, the UCCA Kids team has collaborated with Everafter Books to publish an illustrated Children’s book, Matisse’s Journey, allowing children to follow the Fauvist artist’s footsteps, learning about the climate and vegetation in the many places he visited, encountering new cultures and meeting new friends on a literary journey that shows readers the vastness and richness of the world.

Public Programs

During the exhibition period, UCCA Public Practice team has curated a series of public programs structured around the theme of “Matisse by Matisse,” exploring historical, cultural, and social issues covered by the exhibition. These activities include guided tours led by inspiring special guests, discussions, workshops, and screenings, and will be presented on weekends during the exhibition period. Inheriting the richness of the Beijing programs, the Shanghai series will take the audiences on a journey through Matisse's creative life over five weekends, investigating how western modernist art (led by Matisse) has influenced Chinese literature and art over time. Additional special programs have been planned throughout the exhibition period, focusing on urban culture, literary theory, and more. For the most up-to-date information on our events, please refer to announcements on UCCA’s official website, UCCA Edge’s official WeChat account, and other social media platforms.

UCCA Kids Workshops

UCCA Kids has designed a series of workshops and summer camps based on the exhibition, encouraging children to explore Henri Matisse’s entire artistic career through different theme-based classes. Students will learn how Matisse, recognized as a master of color, depicted life and conveyed emotion in a direct, powerful way. Through hands-on learning, children will discover how Matisse used a wide variety of different media, and create their own paper cut-outs, textile works, book illustrations, and more.

In addition, to help children better understand and more deeply experience the exhibition, UCCA Kids has developed a special Chinese-language audio guide and guidebook for “Matisse by Matisse.” Using child-friendly language, the guidebook leads kids on a journey based on the path of visitors through the exhibition, providing introductions to each section and descriptions of key artworks. The guidebook also includes a small section of fun and accessible interactive activities. You are welcome to pick up a free Chinese guidebook at the museum’s front desk.

Exhibition Merchandise

Exclusive exhibition merchandise for “Matisse by Matisse” is available now at UCCA Store. Inspired by select artworks from different periods of Henri Matisse’s expansive artistic career, products include fluffy tote bags, canvas tote bags, magnets, and other home accessories, vividly recreating the artist’s masterpieces so that visitors can continue experience his brilliance outside of the exhibition.

Best of all, for every tote bag purchased from this collection, UCCA Store will donate RMB 1 to UCCA Foundation’s initiative “Opening the Door to Art.” The initiative aims to raise awareness for philanthropic programs that help make the next generation’s artistic dreams come true. Find UCCA Store on Tmall as UCCA or visit UCCA Store during the exhibition to purchase.

Located in Henri Matisse’s hometown of Le Cateau-Cambrésis in northern France, Musée départemental Matisse was founded by the artist and houses one of the most important collections of his works in the world. In 1952, Matisse bequeathed 89 of his works to the city of Le Cateau-Cambrésis and personally participated in the design of the exhibition galleries. The museum’s collection continued to enlarge after Matisse’s death, with a gift from French abstract painter Auguste Herbin in 1956, and another, of books and works by Modernist masters, from Alice Tériade, the widow of the art publisher Tériade, in 2000. Musée départemental Matisse originally opened in the Town Hall of Le Cateau-Cambrésis, moving in 1982 to the Fénelon Palace, built during the eighteenth century. In 1992, it became the property of the Département du Nord and ten years later, it was significantly enlarged. The museum is currently undergoing renovation in preparation for a new expansion, and will open in summer 2024.