Henri Matisse, a leading figure in modern art, is renowned for his innovative use of color and form. Among his most celebrated works is The Dance, a painting that exists in two major versions, each offering a unique perspective on movement, emotion, and the very nature of painting itself. Commissioned by Sergei Shchukin, a prominent Russian collector, Matisse Dance exemplifies the artist’s ability to convey profound ideas through seemingly simple means.
The initial version, often referred to as Dance I, was conceived in 1909 as a preparatory sketch for a large-scale decorative panel. Despite its status as a study, Dance I at MoMA possesses a captivating energy. Matisse drew inspiration from his earlier masterpiece, Bonheur de Vivre, simplifying the composition and focusing on the raw essence of dance. The figures, rendered with loose, flowing lines, embody a sense of uninhibited joy and spontaneity. Critics have noted their almost doll-like quality, emphasizing their unrestricted movements and childlike freedom. However, this apparent simplicity is deceptive. Matisse meticulously crafted this impression of effortlessness, deliberately “unlearning” traditional representation to create a form that perfectly encapsulates the feeling of pure joy. Imagine the scene rendered with rigid, academic precision – the sense of playful liberation would be entirely lost.
The setting of Dance I is equally intriguing. The dancers inhabit a vibrant field of blue and green, colors that invite multiple interpretations. Is the green a hilltop and the blue the sky above? Or is the blue perhaps water receding into the distance? Matisse intentionally employs this spatial ambiguity, engaging with a central concern of modern painting: the tension between creating the illusion of depth and acknowledging the flat surface of the canvas. Another notable element is the break in the dancers’ circle. The hands of the two foremost figures are intentionally separated, a gap strategically placed over a knee to maintain color continuity. This break has been interpreted as either generating tension, inviting resolution, or as an open invitation for the viewer to join the dance, positioned as we are at the closest point to the circle.
The final version of The Dance, completed in 1910, undergoes a significant emotional transformation. It shifts from the lightheartedness of Dance I to a more powerful and even unsettling mood. Descriptors such as “forbidding,” “menacing,” “tribal,” “ritualistic,” and even “demonic” have been used to capture its atmosphere. This dramatic change is achieved through several artistic choices. Beyond the obvious shift in color palette, the figures in the 1910 canvas are delineated with more pronounced interior lines, lines that convey tension and raw physical power, particularly evident in the back left figure. A more subtle yet impactful alteration 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 final Matisse Dance, the green appears compressed beneath their weight, instilling a feeling of groundedness and force. This subtle shift contributes significantly to the painting’s overall sense of weight and ritualistic energy.
In conclusion, Matisse Dance is far more than a simple depiction of figures in motion. It is a profound exploration of emotion, space, and the expressive potential of form and color. By comparing Dance I and the final version of The Dance, we gain insight into Matisse’s artistic process and his masterful ability to evoke complex feelings through seemingly effortless brushstrokes. His work reveals a deep understanding of human perception and the power of art to move and challenge viewers on multiple levels.
