Henri Matisse in Venice (1948), captured by Michel Sima. (Courtesy Estate Michel Sima)
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Above all else, the renowned artist Henri Matisse is perhaps best known for his exceptional command over color. In fact, he once claimed that “one tone alone is only one color,” while “two tones are a chord,” one that defines life itself. Now, his unique journey across color and form is captured in a major exhibition at the Fondation Beyeler in Switzerland.
Inspired by Charles Baudelaire’s famous poem Invitation to Voyage and on view until January 26, 2025, Matisse: Invitation to Voyage is the first retrospective on the artist in the German-speaking world in nearly 20 years. This monumental moment is reflected in the ambitious scope of the exhibition, which catalogs the entirety of Matisse’s six-decade career.
What distinguishes Invitation to Voyage from previous retrospectives is its focus on travel. This motif is not only physical but also imaginative, highlighting Matisse’s literal travels across the world as well as those through various styles, palettes, and moods.
The exhibition showcases everything from Matisse’s early, Fauvist, and experimental artworks to his sensual, Nice-period paintings and his legendary cut-outs, all while emphasizing his creative growth across these time periods. It also demonstrates Matisse’s relationship to place, and how his visits to Italy, Spain, Russia, Morocco, the United States, and Tahiti renewed and informed his artistic vision.
Figure décorative sur fond ornemental, for example, captures Matisse’s fascination with Orientalism, a common theme for European modernists during the early 20th century. Luxe, calme et volupté, one of Matisse’s earlier artworks, similarly reveals artistic trends from the time, being rendered in a Pointillist style.
Beyond this impressive range, Invitation to Voyage incorporates a multimedia component. Animated historical photographs, wall panels, and films offer further insight into Matisse’s travels, studios, and creative processes, enhancing audience engagement. A comprehensive catalog accompanies the exhibition as well, compiling essays and artworks in a colorful layout.
“When you have worked for a long time in the same milieu,” Matisse once claimed, “it is useful … to stop the usual mental routine and take a voyage.” Invitation to Voyage proves how beneficial these moments of travel were for Matisse, and their tremendous impact upon his work.
To learn more about the exhibition and plan your own visit, check out the Fondation Beyeler website.
A new Matisse retrospective at the Fondation Beyeler in Switzerland catalogs the iconic artist’s six-decade career.
“Acanthes,” 1953. Fondation Beyeler, Riehen/Basel, Beyeler Collection. (Photo: Robert Bayer)
“Baigneuses à la tortue,” 1907-08. Saint Louis Art Museum, gift of Mr. and Mrs. Joseph Pulitzer Jr. (Photo: Saint Louis Art Museum)
“Composition à la croix rouge,” 1947. Private collection. (Photo: Robert Bayer)
“Intérieur au rideau égyptien,” 1948. The Phillips Collection, Washington, DC, acquired 1950. (Photo: The Phillips Collection, Washington, DC)
On view until January 26, 2025, Invitation to Voyage explores the impact of travel on Matisse’s artwork.
“Nu bleu, la grenouille,” 1952. Fondation Beyeler, Riehen/Basel, Beyeler Collection. (Photo: Robert Bayer)
“La grande robe bleue et mimosas,” 1937. Philadelphia Museum of Art, gift of Mrs. John Wintersteen, 1956. (Photo: Philadelphia Museum of Art)
“Nu bleu I,” 1952. Fondation Beyeler, Riehen/Basel, Beyeler Collection. (Photo: Robert Bayer)
“Figure décorative sur fond ornemental,” 1925/26. Musée national d’art moderne, Centre Pompidou, Paris, state purchase 1938. (Photo: Centre Pompidou)
“Poissons rouges et sculpture,” 1912. The Museum of Modern Art, gift of Mr. and Mrs. John Hay Whitney, 1955. (Photo: The Museum of Modern Art, New York/Scala)
“La fenêtre ouverte, Collioure,” 1905. National Gallery of Art, Washington, DC, collection of Mr. and Mrs. John Hay Whitney, 1998. (Photo: National Gallery of Art, Washington)
The exhibition showcases everything from the artist’s early work to his legendary cut-outs from the 1940s and 50s.
“Intérieur à la fougère noire,” 1948. Fondation Beyeler, Riehen/Basel, Beyeler Collection. (Photo: Robert Bayer)
“Nu bleu aux bas verts,” 1952. Fondation Louis Vuitton, Paris. (Photo: Primae / Louis Bourjac)
“Intérieur au phonographe,” 1924. Pinacoteca Agnelli, Turin. (Photo: Pinacoteca Giovanni e Marella Agnelli, Turin)
“Intérieur, bocal de poissons rouges,” 1914. Musée national d’art Modern, Centre Pompidou, Paris. (Photo: Centre Pompidou)
“Grand nu couché (Nu rose),” 1935. The Baltimore Museum of Art, The Cone Collection. (Photo: Mitro Hood)
Invitation to Voyage also catalogs his travels to Italy, Spain, Russia, Morocco, the United States, and Tahiti.
“Intérieur rouge, nature morte sur table bleue,” 1947. Düsseldorf, purchased 1964. (Photo: bpk / Kunstsammlung Nordrhein-Westfalen)
“L’Asie,” 1946. Kimbell Art Museum, Fort Worth. (Photo: Kimbell Art Museum)
“Luxe, calme et volupté,” 1904. Musée national d’art modern, Centre Pompidou, Paris. (Photo: RMN-Grand Palais / Hervé Lewandowski)
“Nature morte aux orange,” 1912. Musée national Picasso-Paris. (Photo: RMN-Grand Palais / Mathieu Rabeau)