Internationally recognised art and literary critic, writer and cultural producer. Published in ELLE, Glamour, Esquire and Cosmopolitan; member of the Union of Writers.
The relationship between Henri Matisse and Pablo Picasso is one of the most fascinating stories in the history of art. The two giants of modernism were not only rivals, but also friends, admirers, and influences on each other. Their artistic dialogue spanned more than half a century, from their first encounter in 1906 until Matisse’s death in 1954. During this time, they exchanged paintings, visited each other’s studios, and challenged each other to push the boundaries of their creativity.
Matisse and Picasso met in Paris, the epicenter of the avant-garde, where they were both drawn to the radical innovations of Paul Cézanne, Paul Gauguin, and African art. Matisse, who was 12 years older than Picasso, was already an established leader of the Fauvist movement, known for his expressive use of color and simplified forms. Picasso, a young Spanish prodigy, was experimenting with different styles, from the melancholic Blue Period to the primitive Primitivism. They were introduced by the American writer and art collector Gertrude Stein, who became one of their most important patrons and supporters.
At first, the two artists were wary of each other, and often criticized each other’s work. Matisse dismissed Picasso’s Les Demoiselles d’Avignon (1907), a groundbreaking painting that ushered in the era of Cubism, as a hoax. Picasso mocked Matisse’s Harmony in Red (1908), a vibrant and decorative composition, as a mere “pot of paint”. However, they also recognized each other’s genius, and secretly admired and studied each other’s paintings. They began to borrow elements from each other, such as the use of geometric shapes, flat planes, and distorted perspectives. They also shared a common interest in themes such as the female nude, the still life, and the studio.
Their rivalry intensified after the First World War, when they both moved to the south of France and developed their own distinctive styles. Matisse pursued a more lyrical and sensual approach, inspired by the Mediterranean light and landscape. He created colorful and harmonious paintings, such as The Dance (1932-33), and experimented with paper cut-outs, such as Jazz (1947). Picasso, on the other hand, explored a more dramatic and expressive direction, influenced by his personal and political turmoil. He produced dark and violent paintings, such as Guernica (1937), and experimented with sculpture, such as Bull’s Head (1942).
Despite their differences, Matisse and Picasso maintained a respectful and friendly relationship, especially in their later years. They exchanged letters, gifts, and visits, and supported each other during the Second World War and the Nazi occupation of France. They also paid tribute to each other in their works, such as Picasso’s The Studio (1955), which features a window motif inspired by Matisse, and Matisse’s Portrait of Pablo Picasso (1917), which captures his rival’s piercing gaze. They also collaborated on projects, such as the design of the Chapel of the Rosary in Vence, which Matisse entrusted to Picasso after his death.
Matisse and Picasso are widely regarded as the two most influential artists of the 20th century, and their rivalry is often seen as the driving force behind their artistic achievements. Their mutual admiration and challenge inspired them to constantly reinvent themselves and explore new possibilities of expression. Their legacy can be seen in the works of countless artists who followed them, from Andy Warhol to David Hockney. Their works are also among the most celebrated and valuable in the art market, as evidenced by the recent auction of Picasso’s Femme Assise (1909) for $63.7 million and Matisse’s Odalisque Couchée aux Magnolias (1923) for $80.8 million. Their rivalry, however, was not a bitter or hostile one, but a gentle and productive one, based on respect and friendship. As Picasso once said, “No one has ever looked at Matisse’s painting more carefully than I; and no one has looked at mine more carefully than he.”
