[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"$3RR7AhFen7":3},{"single":4,"locales":77,"slices":79},{"id":5,"uid":6,"url":7,"type":8,"href":9,"tags":10,"first_publication_date":12,"last_publication_date":13,"slugs":14,"linked_documents":15,"lang":16,"alternate_languages":17,"data":18},"ZGss6xAAACIAqlx4","henri-matisse",null,"artist","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZGss6xAAACIAqlx4%22%29+%5D%5D",[11],"Henri Matisse","2023-05-22T10:07:10+0000","2023-07-11T13:36:35+0000",[6],[],"en-gb",[],{"title":11,"description":19,"birthyear":24,"deathyear":25,"is_alive":26,"cover_desktop":27,"cover_mobile":38,"thumbnail":43,"slices":46,"meta_title":11,"meta_description":66,"og_image":70},[20],{"type":21,"text":22,"spans":23},"paragraph","French post-impressionist artist Henri Matisse (1869-1954) is renowned for his radical contributions to modern art. He was a leading figure of Fauvism, a movement that favoured bright, intense colours and simplified forms. Matisse’s masterful handling of colour is evident in such works as The Dance (1910) and The Red Studio (1911), both of which shaped the course of art history.",[],1869,1954,false,{"dimensions":28,"alt":31,"copyright":7,"url":32,"id":33,"edit":34},{"width":29,"height":30},3840,2160,"Henri Matisse - Photo by Donaldson Collection\u002FGetty Images","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fdeda129f-6ad2-47a7-8e80-834d93ac03e7_Slide+16_9+Henri+Matisse.jpg?auto=compress,format","ZKavixEAACMAWZWy",{"x":35,"y":35,"zoom":36,"background":37},0,1,"#fff",{"dimensions":39,"alt":31,"copyright":7,"url":40,"id":41,"edit":42},{"width":30,"height":29},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F9e6f0ae8-f9a5-4471-9306-054fd55e368e_9_16+Henri+Matisse.jpg?auto=compress,format","ZK0U0xEAACMAdgOv",{"x":35,"y":35,"zoom":36,"background":37},{"dimensions":44,"alt":31,"copyright":7,"url":40,"id":41,"edit":45},{"width":30,"height":29},{"x":35,"y":35,"zoom":36,"background":37},[47],{"variation":48,"version":49,"items":50,"primary":54,"id":64,"slice_type":65,"slice_label":7},"default-slice","sktwi1xtmkfgx8626",[51],{"post":52},{"link_type":53},"Document",{"slides_per_view":7,"max_slides_count":7,"tag":55,"type":62,"title":63,"paralax":7},{"id":56,"type":57,"tags":58,"lang":16,"slug":6,"first_publication_date":59,"last_publication_date":60,"uid":6,"link_type":53,"key":61,"isBroken":26},"ZA9CVhAAACgAyywI","tag",[11],"2023-03-13T15:44:43+0000","2023-03-20T16:55:54+0000","88c2cd2c-f54b-4762-9c26-82c48929cbac","article","Related Articles","carousel$a15857c6-9bf4-4022-89fa-6e964a9f760e","carousel",[67],{"type":21,"text":68,"spans":69},"",[],{"dimensions":71,"alt":11,"copyright":7,"url":74,"id":75,"edit":76},{"width":72,"height":73},1200,600,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7dc61d3b-54b0-4326-a96d-80ba77df9151_Henri+Matisse+%28artist%29+Image+Opengraph.jpg?auto=compress,format","ZKavhREAACMAWZWU",{"x":35,"y":35,"zoom":36,"background":37},{"en":78},{"slug":6},[80],{"slice":47,"payload":81},[82],{"id":83,"uid":84,"url":7,"type":62,"href":85,"tags":86,"first_publication_date":87,"last_publication_date":88,"slugs":89,"linked_documents":98,"lang":16,"alternate_languages":99,"data":100},"ZAh0SRAAACsAvyne","henri-matisse-exhibition-in-philadelphia-highlights","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZAh0SRAAACsAvyne%22%29+%5D%5D",[11],"2023-03-08T15:49:21+0000","2023-07-13T14:13:58+0000",[90,91,92,93,94,95,96,97],"the-creative-twilight-of-matisses-career","the-highs-and-lows-of-henri-matisses-career","the-highs-and-lows-of-henri-matisse","matisse-exhibition-in-philadelphia-highlights-french-artists-highs-and-lows","henri-matisse-hit-a-creative-wall-in-1930-but-a-commission-to-decorate-the-main-gallery-of-the-barnes-foundation-in-the-city-of-brotherly-love-turned-his-practice-around-as-matisse-in-the-30s-shows.","henri-matisse-hit-a-creative-wall-in-1930-but-a-commission-to-decorate-the-main-gallery-of-the-barnes-foundation-in-the-city-of-brotherly-love-turned-his-practice-around-as-matisse-in-the-30s-highlights.","henri-matisse-hit-a-creative-wall-in-1930-but-a-commission-to-decorate-the-main-gallery-of-the-barnes-foundation-in-the-city-of-brotherly-love-turned-his-practice-around.","from-experimentation-to-failure-to-renewal",[],[],{"title":101,"subtitle":102,"author":103,"copyright_cover":149,"cover_desktop":150,"cover_mobile":157,"thumbnail":163,"published_at":166,"slices":167,"meta_title":365,"meta_description":366,"og_image":367,"slices2":374},"The creative twilight of Matisse's career","After a blip in 1930, he made several iconic works",{"id":104,"type":105,"tags":106,"lang":16,"slug":107,"first_publication_date":108,"last_publication_date":109,"uid":110,"data":111,"link_type":53,"key":148,"isBroken":26},"ZBBfzBAAACgAzQAo","author",[],"william-corwin","2023-03-14T11:51:45+0000","2023-07-10T00:55:46+0000","will-corwin",{"description":112,"short_description":125,"job":129,"thumbnail":130,"cover":138,"uid":110,"title":134,"og_image":141,"meta_description":144,"meta_title":134},[113,116,119,122],{"type":21,"text":114,"spans":115},"William Corwin covers art news and features in North America. He is a sculptor, journalist, and curator from New York. He has exhibited at The Clocktower, LaMama and Geary galleries in New York, as well as galleries in London, Hamburg, Beijing and Taipei. ",[],{"type":21,"text":117,"spans":118},"He has written regularly for The Brooklyn Rail, Artpapers, Bomb, Artcritical, Raintaxi and Canvas and formerly for Frieze. He curated and wrote the catalog for Postwar Women at The Art Students League in New York, an exhibition of the school’s alumnae active between 1945-65, and 9th Street Club, an exhibition of Perle Fine, Helen Frankenthaler, Mercedes Matter, Grace Hartigan, Lee Krasner and Elaine Dekooning at Gazelli Art House in London. ",[],{"type":21,"text":120,"spans":121},"His most recent curatorial projects were the first solo exhibition of French Mid-century painter Marguerite Louppe (1901-1989) at Rosenberg & Co gallery in New York (Corwin has been working with the estates of Marguerite Louppe, and her husband the painter Maurice Brianchon for the past decade), and The Agreement:  Chromatic presences, and exhibition of colored sculpture featuring Ugo Rondinone, Lynn Umlauf, Remy Jungerman, Kianja Strobert and Tom Doyle, among others. ",[],{"type":21,"text":123,"spans":124},"He is the editor of Formal Concerns: Collected Essays of Saul Ostrow, to be published in 2023 by Elective Affinity Press, and participated in the exhibition Anchor\u002FRoots at the Newhouse Center for Contemporary Art at Snug Harbor Cultural Center in 2021. He is the author of the book &Model (2020), a history of a Grass-roots artist-run gallery in Northern England, published by Leeds Metropolitan University.",[],[126],{"type":21,"text":127,"spans":128},"William Corwin covers North America for ArtExplored",[],"Art Writer (North America)",{"dimensions":131,"alt":134,"copyright":134,"url":135,"id":136,"edit":137},{"width":132,"height":133},2660,3012,"William Corwin","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4bbbe5d4-21a0-489e-8fe3-96d3a471c015_William+Corwin+B%26W+Art+Explored.jpg?auto=compress,format","ZIg3ghAAACAApnDS",{"x":35,"y":35,"zoom":36,"background":37},{"dimensions":139,"alt":134,"copyright":7,"url":135,"id":136,"edit":140},{"width":132,"height":133},{"x":35,"y":35,"zoom":36,"background":37},{"dimensions":142,"alt":134,"copyright":134,"url":135,"id":136,"edit":143},{"width":132,"height":133},{"x":35,"y":35,"zoom":36,"background":37},[145],{"type":21,"text":146,"spans":147},"Will Corwin covers North America for ArtExplored",[],"5e3200a6-f967-4a1b-87d5-67cde4857212","Henri Matisse, “Oil Study for Barnes Mural, Ocher Harmony”, Oil on canvas. Musée Matisse Nice, France. \n© 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.",{"dimensions":151,"alt":152,"copyright":153,"url":154,"id":155,"edit":156},{"width":29,"height":30},"Henri, Matisse, “Oil Study for Barnes Mural, Ocher Harmony”, 1930–31. 13 inches × 34 9\u002F16 inches, Oil on canvas. Musée Matisse Nice, France. ","© 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.\n","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F9f6c4d9a-c18f-412d-a49a-f0566ea52584_Cover+Matisse.jpg?auto=compress,format","ZCLiSxAAACEA5UHC",{"x":35,"y":35,"zoom":36,"background":37},{"dimensions":158,"alt":159,"copyright":153,"url":160,"id":161,"edit":162},{"width":30,"height":29},"Henri, Matisse, “Oil Study for Barnes Mural, Ocher Harmony”, 1930–31. 13 inches × 34 9\u002F16 inches, Oil on canvas. Musée Matisse Nice, France.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fea3a1109-6609-4e42-8ee4-353d5d04bead_Portrait+Matisse.jpg?auto=compress,format","ZCLinRAAACIA5UNg",{"x":35,"y":35,"zoom":36,"background":37},{"dimensions":164,"alt":159,"copyright":153,"url":160,"id":161,"edit":165},{"width":30,"height":29},{"x":35,"y":35,"zoom":36,"background":37},"2023-03-08",[168,209,229,277,317],{"variation":48,"version":49,"items":169,"primary":171,"id":207,"slice_type":208,"slice_label":7},[170],{},{"title":172,"content":176},[173],{"type":174,"text":68,"spans":175},"heading1",[],[177],{"type":21,"text":178,"spans":179},"French artist Henri Matisse hit a creative wall in 1930 but a commission to decorate the main gallery of The Barnes Foundation in Philadelphia turned his practice around, as the exhibition Matisse in the 1930s shows. \n\nA stark sketch of the legs and torso of a dancer with one knee lifted carefree, in ink on tracing paper and close to three metres high, alerts the viewer to the energy, grace, and erotic surprise that Matisse could still summon at the age of 60. The Matisse exhibition in Philadelphia explores the painter’s output from that age onwards, and not surprisingly, chooses the painter’s mural The Dance, a commission he created for Albert Barnes nearby in Merion PA (now on view at The Barnes Foundation in Philadelphia), as the landmark with which to punctuate his period of renewed creativity.\n\nThe first two galleries in the exhibition bring the visitor up to speed on what Matisse had been working on post-Fauve (1905-1908): odalisques, interiors, portraits, mythological, and ethereal groups of figures that he never stopped painting, just now post-1930, with renewed vigour. The full-size sketch of the dancer for the Barnes Foundation mural holds court in a long gallery with one wall lined with sketches for the project; in pencil, pen, and watercolour. On the other side of the room is exhibited a series of etchings and illustrations Matisse created for the poetry of Stephane Mallarmé in 1930-31. The painter always focused both on the desires of his collectors, like Barnes, and appealing to a wider public in the form of illustrations and less expensive prints. Matisse’s Odalisque Couchée aux Magnolias (1923) sold in 2018 at Christie's for $80,750,000, unlike most painters, Matisse has never gone out of style. He was an artist who managed to consistently challenge himself and the viewer, while ticking off enough boxes to maintain consistent popularity with both the public and collectors. Philadelphia’s encyclopedic coverage of Matisse’s mature period offers a window on an artist whose abstract goal “what I am after, above all, is expression” materialised into overwhelming adoration from the public, and if the lines at the museum are any indication – an adulation that continues to grow.",[180,184,195,198],{"start":181,"end":182,"type":183},607,616,"em",{"start":185,"end":186,"type":187,"data":188},924,930,"hyperlink",{"id":189,"type":190,"tags":191,"lang":16,"slug":192,"first_publication_date":193,"last_publication_date":194,"link_type":53,"isBroken":26},"ZKge5REAACMAYDKW","definition",[],"fauve","2023-07-07T14:19:20+0000","2023-07-11T05:10:52+0000",{"start":196,"end":197,"type":183},1599,1630,{"start":199,"end":200,"type":187,"data":201},2021,2030,{"id":202,"type":190,"tags":203,"lang":16,"slug":204,"first_publication_date":205,"last_publication_date":206,"link_type":53,"isBroken":26},"ZKgfpREAACQAYDY6",[],"abstract","2023-07-07T14:22:33+0000","2023-07-10T21:51:41+0000","text$762ca395-9d44-4978-a1cc-01ab23a848fb","text",{"variation":210,"version":49,"items":211,"primary":212,"id":227,"slice_type":228,"slice_label":7},"centered-slice",[],{"image1":213,"label":222,"copyright":223},{"dimensions":214,"alt":217,"copyright":218,"url":219,"id":220,"edit":221},{"width":215,"height":216},2881,1921,"Henri Matisse, “Odalisque with Grey Trousers” 1926-1927. 21 1\u002F4 × 25 9\u002F16 inches, Oil on canvas. Musée de l'Orangerie. "," © 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6be1443e-2456-48f4-8dcd-53a7ebadb2f8_3_2.jpg?auto=compress,format","ZCLfXBAAACEA5TOt",{"x":35,"y":35,"zoom":36,"background":37},"Odalisque with Grey Trousers",[224],{"type":21,"text":225,"spans":226},"© 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.",[],"image$2665798f-f9fd-40b2-9e31-cdf311492dba","image",{"variation":48,"version":49,"items":230,"primary":232,"id":276,"slice_type":208,"slice_label":7},[231],{},{"title":233,"content":234},[],[235],{"type":21,"text":236,"spans":237},"The premise of the show – that Matisse was “struggling” at the end of the 20’s – is overstated. The painter turned 60 in 1929 and was by then one of the most famous living artists. The notion that he was concerned with his relevance as an artist at that age, and in an art market that had been struck by the 1929 crash as much as any other industry, does not seem extraordinary. Matisse had always been about interacting with the viewer; he welcomed constant feedback from visitors to his studio and had set up a school, the Academie Matisse (1907-1911), in which he, initially at least, had a very hands-on interaction with students. He strove more to accommodate and comfort – perhaps because he himself was something of a nervous wreck (and an insomniac) if we are to believe Hilary Spurling’s in-depth biography, Matisse the Master (2005). Matisse moved from perceived crisis to crisis; his painting was meant to be a relaxing tonic for himself, and so it was to his audience as well – “what I dream of is an art of balance, of purity and serenity, devoid of troubling or depressing subject matter… a soothing calming influence on the mind, something like a good armchair that provides relaxation from fatigue.”\n\nThis is abundantly clear in the subjects Matisse chose to paint: in particular the nude female figure. The artist had initially been buoyed from 1904-1917, financially and with publicity, by adventurous collectors, including Sarah Stein (1870-1953) sister-in-law of Gertrude, and in particular Sergei Shchukin (1854-1936), the Russian textile magnate, who had taken great risks socially by purchasing works such as The Dance (the 1910 original), and The Red Studio (1911): erotic or avant-garde abstract subjects. But it was the nude female form that Matisse realised would play well with collectors, and Matisse in the 1930s presents these works, such as the realistically drawn luxuriating and sensuous Large Odalisque in Striped Pantaloons (1925) to the far more abstract lithe and elongated Large Reclining Nude (1935). The latter is presented with the series of black-and-white photographs which Matisse took to record his process. Here we see another ingredient of the master’s charismatic technique: while the curves and volumes of the nude seem to flow and her proportions seem effortlessly constructed; Matisse agonised over every inch of the painting and erased and repainted passages on a daily basis. Regardless of all the sweat, Matisse made the painting look spontaneous, and viewers and collectors responded.\n\nThe succeeding rooms of the exhibition display his calming, colourful and beautiful aesthetic to the design of wall hangings and tapestries. He came to a realisation that his once vilified style was now neatly adjacent to a decorative aesthetic, and two paintings: Papeete – Tahiti (Window in Tahiti; Tahiti 1) (1935) and Window at Tahiti II (1935-36) are full-size preparatory sketches for tapestries. Much like his cagey use of the craze for orientalism twenty years earlier, Matisse, in his series of Rumanian blouse paintings incorporates fashion trends into his time-tested odalisque format – incorporating the Romanian blouse – an embroidered peasant outfit popular in the south of France at the time, as in Still Life with Sleeping Woman (1940). ",[238,241,244,247,256,259,264,267,270,273],{"start":239,"end":240,"type":183},817,836,{"start":242,"end":243,"type":183},1632,1641,{"start":245,"end":246,"type":183},1667,1681,{"start":248,"end":249,"type":187,"data":250},1700,1721,{"id":251,"type":190,"tags":252,"lang":16,"slug":253,"first_publication_date":254,"last_publication_date":255,"link_type":53,"isBroken":26},"ZKgfVBEAACEAYDS3",[],"avant-garde","2023-07-07T14:21:11+0000","2023-07-10T21:52:39+0000",{"start":257,"end":258,"type":183},1922,1959,{"start":260,"end":261,"type":187,"data":262},1983,1992,{"id":202,"type":190,"tags":263,"lang":16,"slug":204,"first_publication_date":205,"last_publication_date":206,"link_type":53,"isBroken":26},[],{"start":265,"end":266,"type":183},2012,2032,{"start":268,"end":269,"type":183},2807,2853,{"start":271,"end":272,"type":183},2864,2883,{"start":274,"end":275,"type":183},3256,3286,"text$e54e7715-26e8-470a-83f0-3dc73f966334",{"variation":278,"version":49,"items":279,"primary":298,"id":316,"slice_type":228,"slice_label":7},"double-slice",[280,289],{"image":281,"title":288,"subtitle":11},{"dimensions":282,"alt":7,"copyright":7,"url":285,"id":286,"edit":287},{"width":283,"height":284},1920,2521,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F79aad45d-82b5-42e8-b930-1e24ce85a542_Original+-+2+17.jpg?auto=compress,format","ZKbRihEAACIAWjwV",{"x":35,"y":35,"zoom":36,"background":37},"Window at Tahiti II",{"image":290,"title":297,"subtitle":11},{"dimensions":291,"alt":293,"copyright":7,"url":294,"id":295,"edit":296},{"width":283,"height":292},1363,"Henri Matisse ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fef0a40da-0cbc-40b0-af82-5dce57fcb4df_Original+-+1+13.jpg?auto=compress,format","ZKbR0BEAACIAWj1y",{"x":35,"y":35,"zoom":36,"background":37},"Large Reclining Nude",{"image1":299,"image2":306,"label":7,"copyright":313},{"dimensions":300,"alt":301,"copyright":302,"url":303,"id":304,"edit":305},{"width":30,"height":30},"Henri Matisse \"Window at Tahiti II\" 1935. 7 feet 9 11\u002F16 inches × 6 feet 1\u002F16 inches.","Gouache on canvas Musée départemental Matisse, Le Cateau-Cambrésis, France © 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.\n","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F808c6b9c-c2b0-4ab0-adae-3ff5b5f3cbc7_Carre%E2%95%A0%C3%BC+-+2.jpg?auto=compress,format","ZCK1ExAAACEA5GQy",{"x":35,"y":35,"zoom":36,"background":37},{"dimensions":307,"alt":308,"copyright":309,"url":310,"id":311,"edit":312},{"width":30,"height":30},"Henri Matisse \"Large Reclining Nude\" 1935. 26 1\u002F8 × 36 3\u002F4 inches (66.4 × 93.3 cm). ","Oil on canvas Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland, 1950.258. © 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F813a17e1-7f03-4c9a-bccf-c47743bdc6ad_Carre%E2%95%A0%C3%BC+-+1.jpg?auto=compress,format","ZCKwChAAACQA5ExC",{"x":35,"y":35,"zoom":36,"background":37},[314],{"type":21,"text":225,"spans":315},[],"image$2691b396-1683-4def-99d8-4666efe03347",{"variation":48,"version":49,"items":318,"primary":320,"id":364,"slice_type":208,"slice_label":7},[319],{},{"title":321,"content":322},[],[323],{"type":21,"text":324,"spans":325},"As the show progresses, Matisse begins to start imitating himself, the paintings become less daring and the application of paint and composition anaemic. A mantelpiece created for Nelson A. Rockerfeller’s apartment in New York, The Song (Le Chant) (1938), depicts four fashionably dressed ladies reading, napping, and whispering to each other, but there is none of the rawness, sensuality, or ritual abandon of the Barnes mural. And the colour scheme of the Barnes, an enigmatic selection of greys and pinks, is here replaced in The Song by complementary reds, blacks, and greens. Matisse perhaps was aware that the greatest achievement of his renaissance in the 30s was revisiting his early innovations and reworking them and “upping their visibility.” He also revisited designing sets and costumes for dance performances. He had designed the production for Le Chant du Rossignol for Diaghilev’s Ballet Russe in 1920, and Matisse in the 1930s briefly considers his design – in the form of entrancing black and white clips – of Rouge et Noire (Red and Black) (1937) a collaboration with Dmitri Shostakovich for the Ballet Russe de Monte Carlo. Also briefly alluded to is the kernel of the idea that would eventually become Matisse’s last period, and a truly innovative series that would again place him centre stage in the eyes of the world – his cut.-outs, represented by two works Two Dancers (1937-38) and Small Dancer on Red Background (1938). These collages originated from the painter’s process of using painted pieces of paper to block out his compositions. The cut-outs were simple, expressive and perfect in their way, and they managed to be effortless and pleasing while not even seeming to consider the painter’s slowly fading physical skills – yet another brilliant stroke for Matisse.\n\nMatisse in the 1930s\n20 October 2022 – 29 January 2023. Philadelphia Museum of Art\n",[326,329,332,335,338,347,350,353,358,361],{"start":327,"end":328,"type":183},228,248,{"start":330,"end":331,"type":183},529,537,{"start":333,"end":334,"type":183},897,910,{"start":336,"end":337,"type":183},1028,1058,{"start":339,"end":340,"type":187,"data":341},1347,1356,{"id":342,"type":190,"tags":343,"lang":16,"slug":344,"first_publication_date":345,"last_publication_date":346,"link_type":53,"isBroken":26},"ZKvblBEAACEAcFrd",[],"cut-outs","2023-07-10T10:21:12+0000","2023-07-10T21:51:04+0000",{"start":348,"end":349,"type":183},1382,1395,{"start":351,"end":352,"type":183},1409,1439,{"start":354,"end":355,"type":187,"data":356},1568,1578,{"id":342,"type":190,"tags":357,"lang":16,"slug":344,"first_publication_date":345,"last_publication_date":346,"link_type":53,"isBroken":26},[],{"start":359,"end":360,"type":183},1819,1820,{"start":362,"end":363,"type":183},1881,1882,"text$378b39bb-a9d8-4cb4-9ba8-47135ab3da2f","From experimentation, to failure, to renewal: Matisse exhibition in Philadelphia highlights artist’s highs and lows","ArtExplored discovers how Henri Matisse's creative block in 1930 led him to experimentation and renewal which resulted in stunning paintings.",{"dimensions":368,"alt":370,"copyright":7,"url":371,"id":372,"edit":373},{"width":369,"height":72},2400,"Henri, Matisse, “Oil Study for Barnes Mural, Ocher Harmony”, 1930–31. Musée Matisse Nice, France. © 2022 Succession H. Matisse\u002FArtists Rights Society (ARS), New York.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fed5d0b3b-da3a-4eaf-bb49-15811032b132_Image+Opengraph+Matisse.jpg?auto=compress,format","ZK_8thIAACAAahhh",{"x":35,"y":35,"zoom":36,"background":37},[375,423,432],{"variation":48,"version":49,"items":376,"primary":419,"id":422,"slice_type":65,"slice_label":7},[377,387,398,409],{"post":378},{"id":379,"type":62,"tags":380,"lang":16,"slug":382,"first_publication_date":383,"last_publication_date":384,"uid":385,"link_type":53,"key":386,"isBroken":26},"ZAhxkRAAACkAvx0D",[381],"Amedeo Modigliani","amedeo-modigliani-through-the-microscope","2023-03-08T15:49:55+0000","2023-07-13T14:21:18+0000","amadeo-modigliani-a-century-of-enigma","4b818a86-ae4a-4a30-abb7-b502754e6365",{"post":388},{"id":389,"type":62,"tags":390,"lang":16,"slug":393,"first_publication_date":394,"last_publication_date":395,"uid":396,"link_type":53,"key":397,"isBroken":26},"ZAiU1xAAACgAv6oU",[391,392],"Paul Cezanne","Impressionism","cezannes-timeless-paintings-eclipse-the-contradictions","2023-03-08T15:47:36+0000","2023-07-13T14:02:05+0000","paul-cezanne-cubism-tate","62c4bcc4-7643-4e89-99b7-ecd581e87d96",{"post":399},{"id":400,"type":62,"tags":401,"lang":16,"slug":404,"first_publication_date":405,"last_publication_date":406,"uid":407,"link_type":53,"key":408,"isBroken":26},"ZAsCaBAAACoAxIyA",[402,403],"Interview","Da Vinci","unravelling-da-vincis-mysteries-with-the-worlds-top-expert","2023-03-10T15:48:09+0000","2023-07-13T14:09:03+0000","leonardo-da-vinci-alessandro-vezzosi","ee72dba2-0d23-4950-9125-f07b5e28ea60",{"post":410},{"id":411,"type":62,"tags":412,"lang":16,"slug":414,"first_publication_date":415,"last_publication_date":416,"uid":417,"link_type":53,"key":418,"isBroken":26},"ZAiOihAAACoAv4s1",[413],"Renaissance","dutch-art-for-arts-sake-and-tudor-renaissance-majesty","2023-03-08T15:48:43+0000","2023-07-13T14:29:58+0000","the-dutch-and-tudors-renaissance","fc93bce7-5b53-478f-a26d-e9e510299b4f",{"slides_per_view":7,"max_slides_count":7,"tag":420,"type":62,"title":421,"paralax":7},{"link_type":53},"Read more","carousel$2453d285-d38d-46a0-bea0-acac66f7e43f",{"variation":48,"version":49,"items":424,"primary":427,"id":431,"slice_type":65,"slice_label":7},[425],{"post":426},{"link_type":53},{"slides_per_view":7,"max_slides_count":7,"tag":428,"type":429,"title":430,"paralax":7},{"link_type":53},"podcast","Listen to audiocasts","carousel$1a56a7f1-5854-44db-8853-098836a1483c",{"variation":48,"version":49,"items":433,"primary":436,"id":440,"slice_type":65,"slice_label":7},[434],{"post":435},{"link_type":53},{"slides_per_view":7,"max_slides_count":7,"tag":437,"type":438,"title":439,"paralax":7},{"link_type":53},"video","Discover more artists","carousel$179b8f13-fc10-4456-a17b-dcf2d3f1d997"]