“The popular view of Matisse is still that he is an artist of color and light and hedonism,” Mr. Elderfield said. “And this Matisse, the one between 1913 and 1917, is a different artist. He’s more austere, more anxious, more radical in many ways than the artist he popularly became. It was during this amazing five-year period that he became the artist of geometry and synthesis.”
Not only has this new study of “Bathers” revealed much about the artist’s methods — how he painted and repainted a canvas — but Ms. D’Alessandro and Mr. Elderfield also found unexpected connections between that work and several others, particularly two in MoMA’s collection, “The Moroccans,” from 1915-16, and “The Piano Lesson” from 1916.
link: Inside Art - Exploring Mysteries of Matisse’s ‘Bathers by a River’ - NYTimes.com
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