Henri Matisse’s “Dance” is not just one painting, but a series, most notably comprising two major versions: Dance I (1909) and The Dance (1910). These masterpieces, born from a significant commission, showcase a fascinating evolution in Matisse’s artistic expression and continue to captivate viewers with their rhythmic energy and emotional depth. The story begins in 1909 when Sergei Shchukin, a prominent Russian industrialist and art collector, tasked Matisse with creating three large-scale canvases to adorn the staircase of his Moscow mansion, the Trubetskoy Palace. This ambitious project led to the creation of “Dance” and its companion piece, “Music,” works that are pivotal in understanding Matisse’s artistic journey.
Alt text: Henri Matisse The Dance painting, showcasing five nude figures in a circle against a vibrant blue and green background, capturing movement and rhythm.
Initially conceived as a preparatory sketch, Dance I at MoMA, despite its large scale and oil medium, was considered by Matisse as just that – a stepping stone towards the final version. However, comparing Dance I to The Dance reveals crucial insights into Matisse’s artistic process and the shifting emotional landscape he explored. In Dance I, a sense of lighthearted joy and pleasure, reminiscent of his earlier Fauvist masterpiece “Bonheur de Vivre,” permeates the canvas. The figures are rendered with loose, flowing lines, lacking detailed internal definition. Their forms are often likened to beanbag dolls, emphasizing unrestrained and spontaneous movement. This seemingly childlike simplicity, however, is deceptive. Matisse meticulously crafted this appearance of effortlessness, a deliberate artistic choice to convey pure joy and uninhibited expression. Imagine, for a moment, if Matisse had chosen to depict these figures with the rigid precision of Jacques Louis David. Would the same sense of playful exuberance and unadulterated joy be as effectively communicated? Matisse consciously moved away from traditional representational techniques to create an image where form and content are perfectly harmonized, a challenging feat achieved through artistic mastery.
Alt text: Henri Matisse Dance I 1909 artwork, depicting five dancers in a circular motion with loose brushstrokes and vibrant colors of green and blue, embodying spontaneity.
The setting of Dance I is defined by a brilliant blue and green field, prompting questions about Matisse’s spatial intentions. While some might interpret the green as a grassy hilltop and the blue as the sky above, this simplistic reading overlooks the spatial ambiguity Matisse masterfully employs. Another interpretation suggests the blue represents water receding into the distance. This deliberate ambiguity highlights a central concern in modern painting: the tension between creating the illusion of depth and acknowledging the inherent flatness of the canvas. Matisse uses this tension to engage the viewer and challenge traditional perspective. Another notable element in Dance I is the break in the dancers’ circle. The hands of the two foremost figures are intentionally parted, a decision Matisse carefully executed where the break overlaps with a knee to maintain color continuity. This gap is often interpreted in multiple ways: as a source of dynamic tension awaiting resolution, or as an invitation for the viewer to step into the circle and join the dance, positioned as it is closest to the observer’s space.
Alt text: Photograph of Henri Matisse’s painting The Dance, capturing the intense red, green, and black palette and dynamic figures in a circular dance, conveying a sense of ritual.
In stark contrast, the final version of The Dance evokes a dramatically different emotional atmosphere. Described as forbidding, menacing, tribal, ritualistic, and even demonic, it departs significantly from the joyful spontaneity of Dance I. The rhythmic pulse of drums seems almost audible, replacing the lighthearted pleasure of the initial sketch with a more primal and intense energy. Several artistic choices contribute to this profound shift in mood. Beyond the obvious change in color palette, the figures in the 1910 canvas are delineated with more internal 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 extends upwards to meet the feet of the dancers at the back, creating a sense of lightness. In The Dance, however, the green appears compressed beneath the weight of the dancers, imbuing the scene with a sense of grounded weight and force. This nuanced change profoundly influences our perception of each painting, underscoring Matisse’s meticulous attention to detail and his masterful ability to manipulate visual elements to evoke specific emotions. Therefore, dismissing Matisse’s style as simply “childlike” would be a grave misjudgment. He possessed a profound understanding of artistic principles and consciously employed them to achieve his desired expressive outcomes in works like his iconic Matisse Dance Painting.
