1869 -1954 · From Collioure to cut gouaches

Explore Henri Matisse at the Center Pompidou, from the Porte-fenêtre in Collioure to La Tristesse du roi, a major ensemble where workshop, color and cutting lead to a monumental form of simplicity.

The National Museum of Modern Art preserves an essential set for understanding the evolution of Henri Matisse. French window in Collioure, painted in 1914, transforms a familiar motif into an almost abstract threshold: vertical stripes, balcony and dark rectangle suspend the view between interior and exterior. A few decades later, Yellow and Blue Interior shows how table, chair, window and objects can balance in decorative light. A few decades later, Yellow and Blue Interior shows how table, chair, window and objects can balance in decorative light. The Painter in his studio reflects directly on the artist's work, the relationship between model, canvas and lived space. The Painter in his studio reflects directly on the artist's work, on the relationship between model, canvas and lived space. The Painter in his studio reflects directly on the artist's work, on the relationship between model, canvas and lived space. The Painter in his studio reflects directly on the artist's work, on the relationship between model, canvas and lived space. The late summit is The Sadness of the King, produced in 1952 with gouached, cut and glued papers. Matisse y combines King David, music, dance and an autobiographical dimension. The large black figure, the musician and the dancer stand out against flat greens, blues, yellows and pinks; golden shapes circulate like the notes of a melody. The artist considered this work to be the equal of his best paintings. The Center Pompidou collection thus makes it possible to follow the same ambition: to simplify without impoverishing, to make color an architecture, then to give the cutting the monumentality of the painting. The "Henri Matisse at the Center Pompidou" selection thus makes it possible to follow the same ambition: to simplify without impoverishing, to make color an architecture, then to give the cutting the monumentality of the painting. The "Henri Matisse at the Center Pompidou" selection thus makes it possible to follow the same ambition: to simplify without impoverishing, to make color an architecture, then to give the cutting the monumentality of the painting. The "Henri Matisse at the Center Pompidou" selection thus allows us to follow the same ambition: to simplify without impoverishing, to make color an architecture, then to give the cutting the monumentality of the painting. The "Henri Matisse at the Center Pompidou" selection thus allows us to follow

At the Center Pompidou, Collioure's black window and the cut-out paper king tell the same desire: to remove the accessory until color, rhythm and emotion become one.