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Henri Matisse, in full Henri-émile-Beno?t Matisse, (born December 31, 1869, Le Cateau, Picardy, France—died November 3, 1954, Nice), artist often regarded as the most important French painter of the 20th century. He was the leader of the Fauvist movement about 1900, and he pursued the expressiveness of colour throughout his career. His subjects were largely domestic or figurative, and a distinct Mediterranean verve presides in the treatment.
Matisse, whose parents were in the grain business, displayed little interest in art until he was 20 years old. From 1882 to 1887 he attended the secondary school in Saint-Quentin; after a year of legal studies in Paris, he returned to Saint-Quentin and became a clerk in a law office. He began to sit in on an early-morning drawing class at the local école Quentin-Latour, and, in 1890, while recovering from a severe attack of appendicitis, he began to paint, at first copying the coloured reproductions in a box of oils his mother had given him. Soon he was decorating the home of his grandparents at Le Cateau. In 1891 he abandoned the law and returned to Paris to become a professional artist.
Although at this period he had, in his own words, “hair like Absalom’s,” he was far from being a typical Left Bank bohemian art student. “I plunged head down into work,” he said later, “on the principle I had heard, all my young life, expressed by the words ‘Hurry up!’ Like my parents, I hurried up in my work, pushed by I don’t know what, by a force which today I perceive as being foreign to my life as a normal man.” This 19th-century gospel of work, derived from a middle class, northern French upbringing, was to mark his entire career, and soon it was accompanied by a thoroughly bourgeois appearance—gold-rimmed spectacles; short, carefully trimmed beard; plump, feline body; conservative clothes—which was odd for a leading member of the Parisian avant-garde.
Matisse did not, however, become a member of the avant-garde right away. In 1891, in order to prepare himself for the entrance examination at the official école des Beaux-Arts, he enrolled in the privately run Académie Julian, where the master was the strictly academic William-Adolphe Bouguereau. That Matisse should have begun his studies in such a conservative school may seem surprising, and he once explained the fact by saying that he was acting on the recommendation of a Saint-Quentin painter of hens and poultry yards. But it must be remembered that he himself was for the moment a provincial with tastes that were old-fashioned in a Paris already familiar with the Post-Impressionism of Paul Cézanne, Paul Gauguin, and Vincent van Gogh. His earliest canvases are in the 17th-century Dutch manner favoured by the French Realists of the 1850s.
In 1892 Matisse left the Académie Julian for evening classes at the école des Arts Décoratifs and for the atelier of the Symbolist painter Gustave Moreau at the école des Beaux-Arts, without being required to take the entrance examination. Moreau, a tolerant teacher, did not try to impose his own style on his pupils but rather encouraged them to develop their personalities and to learn from the treasures in the Louvre. Matisse continued, with some long interruptions, to study in the atelier until 1899, when he was forced to leave by Fernand Cormon, an intolerant painter who had become the professor after Moreau’s death. After that, although he was nearing 30, he frequented for a time a private academy where intermittent instruction was given by the portraitist Eugène Carrière.
In 1896 Matisse exhibited four paintings at the Salon de la Société Nationale des Beaux-Arts and scored a triumph. He was elected an associate member of the Salon society, and his Woman Reading (1894) was purchased by the government. From this point onward he became increasingly confident and venturesome, both as an artist and as a man. During the next two years he undertook expeditions to Brittany, met the veteran Impressionist Camille Pissarro, and discovered the series of Impressionist masterpieces in the Gustave Caillebotte Collection, which had just been donated—amid protests from conservatives—to the French nation. His colours became, for a while, lighter in hue and at the same time more intense. In 1897 he took his first major step toward stylistic liberation and created a minor scandal at the Salon with The Dinner Table, in which he combined a Pierre-Auguste Renoir kind of luminosity with a firmly classical composition in deep red and green.
In 1898 he married a young woman from Toulouse, Amélie Parayre, and left Paris for a year, visiting London, where he studied the paintings of J.M.W. Turner, and working in Corsica, where he received a lasting impression of Mediterranean sunlight and colour.