Henri Matisse, a towering figure in modern art, is renowned for his innovative use of color and form. Among his most iconic works is “The Dance,” a series of paintings commissioned by Sergei Shchukin, a prominent Russian collector. These pieces, particularly Dance I and The Dance (sometimes referred to as Dance II or the final version), offer a fascinating study in the evolution of an artistic idea and perfectly encapsulate Matisse The Dance theme. Shchukin’s commission in 1909 for three large canvases to adorn his Moscow mansion marked a pivotal moment in Matisse’s career, leading to the creation of these monumental works.
The painting known as Dance I, currently housed at MoMA, often surprises viewers with its designation as a “preparatory sketch.” Despite its large scale and oil medium, Matisse considered it a stepping stone towards the final version. However, Dance I is far from a mere preliminary study; it’s a vibrant expression of joy and freedom reminiscent of Matisse’s earlier Fauvist period. The figures, seemingly unbound by realistic constraints, move with a delightful spontaneity. They are drawn with minimal internal detail, lending them a quality that some have playfully described as “bean bag dolls” due to their unrestricted and flowing forms. This apparent simplicity, however, is deceptive. Matisse meticulously crafted this sense of effortlessness, a hallmark of his artistic genius. Imagine, for a moment, if Matisse had rendered these dancers with the rigid formality of a Neoclassical painter like Jacques-Louis David. The very essence of joy and playful abandon that defines Dance I would be lost. Matisse masterfully “unlearns” conventional representation to achieve a harmonious alignment between form and content, making Matisse the dance a truly unique visual experience.
The setting of Dance I is equally intriguing. The dancers inhabit a field of brilliant blue and green, colors that immediately spark questions about representation. Is the green a grassy hilltop, and the blue the sky above? Or could the blue be water receding into the distance? Matisse deliberately employs this spatial ambiguity, inviting viewers to contemplate the very nature of modern painting. He skillfully navigates the tension between creating the illusion of depth and acknowledging the inherent flatness of the canvas. Another key element in Dance I is the break in the circle of dancers. The hands of the two foremost figures are intentionally separated, a deliberate choice by Matisse. This break, positioned strategically where it overlaps with a knee, maintains the color continuity while introducing a sense of dynamic tension. This gap is often interpreted in multiple ways: as a source of unresolved energy within the composition or as an invitation for the viewer to step into the dance, bridging the gap closest to our perspective and becoming part of Matisse the dance.
In stark contrast to the joyful spontaneity of Dance I, the final version of The Dance, painted in 1910, evokes a profoundly different emotional atmosphere. Words like “forbidding,” “menacing,” “tribal,” “ritualistic,” and even “demonic” have been used to describe its powerful presence. The lighthearted pleasure of the earlier sketch is replaced by an almost primal energy, as if the rhythmic beat of drums permeates the canvas. This dramatic shift in mood is achieved through several artistic choices. Beyond the obvious change in color palette – the vibrant blues and greens are replaced by a more earthy and intense combination of reds, greens, and black – the figures themselves are rendered with greater internal linework. These lines suggest tension and raw physical power, particularly evident in the figure on the back left. Furthermore, a subtle yet impactful change occurs in the grounding of the figures. In Dance I, the green field rises to meet the dancers’ feet, creating a sense of lightness. In The Dance, however, the green appears to compress beneath the weight of the dancers, imbuing the scene with a sense of gravity and force. This subtle alteration significantly contributes to our perception of each painting, highlighting Matisse’s masterful control over visual language.
Ultimately, exploring Matisse the dance through both Dance I and The Dance reveals the artist’s profound understanding of form, color, and emotion. It dispels any notion that Matisse was merely painting with childlike naiveté. Instead, it showcases a highly deliberate and sophisticated artist who meticulously crafted every element to achieve his desired effect, transforming a simple motif into a powerful exploration of human expression and movement. Through these contrasting yet connected works, Matisse invites us to appreciate the nuanced journey from joyful spontaneity to ritualistic intensity, solidifying “The Dance” as a cornerstone of modern art history and a testament to Matisse the dance legacy.
