Art

Stephen E. Ostrow Distinguished Visitors Program

Spring 2019

Yve-Alain Bois

"What's with the Bamboo Stick? Matisse's Drawing Practice and his Stations of the Cross at Vence”
Tuesday, March 5, 2019 at 7:00 p.m.
Vollum lecture hall
Free and open to the public

Henri Matisse in his studio (Robert Capa, 1949)

In a photograph dating from 1931, Matisse is shown sketching The Dance—a gigantic mural commissioned by Albert Barnes—with his charcoal at the end of a six-foot bamboo stick. This unusual practice stems from the artist’s discovery, dating from the time he was working on his 1906 Bonheur de vivre, that squaring up a small sketch, as has been the standard procedure for large paintings and murals since at least the Renaissance, was incompatible with his aesthetic. The bamboo stick resurfaces in Matisse’s studio at the end of the 1940s when he is working on his Vence Chapel, his old age further emphasizing the acrobatic nature of the feat and the amazing control the artist had of his drawing tool. But while Matisse’s use of the cane is consistent with the artist’s creed with regard to two of the chapel’s murals, it seems absurd when he dealt with the third mural, the Stations of the Cross, for which each of the fourteen stations was first sketched on an individual piece of paper at final scale. For Matisse, a picture plane must always be conceived and perceived whole; the piecemeal approach was anathema to him—so that the narrative structure of the Stations of the Cross was entirely contradictory to his aesthetic. Yet the choice of this topic for the Vence Chapel was fully his. What is one to make of such a contradiction? And was Matisse attempting to mask it, or on the contrary to reveal it, by the extraordinarily rough manner in which he painted his Stations, a deliberate “primitivism” that has so far prevented Matisse scholars from giving a close look at this work.

Yve-Alain Bois is professor of art history in the School of Historical Studies at the Institute for Advanced Study. A specialist in twentieth-century European and American art, Bois is recognized as an expert on a wide range of artists, from Henri Matisse and Pablo Picasso to Piet Mondrian, Barnett Newman, and Ellsworth Kelly. He has curated and co-curated a number of influential exhibitions, including Piet Mondrian, A Retrospective (1994); L’informe, mode d’emploi (1996); Matisse and Picasso: A Gentle Rivalry (1999); and Picasso Harlequin 1917–1937 (2008). His books include Ellsworth Kelly: Catalogue Raisonné of Paintings, Reliefs, and Sculpture: Vol. 1, 1940–1953 (2015); Matisse in the Barnes Foundation (2015); Art Since 1900 (with Benjamin Buchloh, Hal Foster, and Rosalind Krauss, 2004); Matisse and Picasso (1998); Formless: A User’s Guide (with Rosalind Krauss, 1997); and Painting as Model (1990). Bois is currently working on several long-term projects, foremost among them the catalogue raisonné of Ellsworth Kelly’s paintings and sculptures.

Photo credit: Henri Matisse in his studio (Robert Capa, 1949)

About the Program

The Stephen E. Ostrow Distinguished Visitors Program in the Visual Arts was established by a generous 1988 gift from Edward and Sue Cooley and John and Betty Gray in support of art history and its place in the humanities. The lecture program enables Reed College's art department to bring distinguished individuals in the arts to the college for periods of up to a week. These visitors give public lectures and seminars with students.

The intent of the program is to bring to campus creative people who are distinguished in connection with the visual arts and who will provide "a forum for conceptual exploration, challenge, and discovery." The program is named in honor of art historian Dr. Stephen E. Ostrow, as a tribute to his career and out of respect for his advisory role in the formulation of the Cooley-Gray gift and the design of the Douglas F. Cooley Memorial Art Gallery. Ostrow is the Emeritus Chief of the Prints and Photographs Division of the Library of Congress, Washington, DC.

Past artists have included:

2018.02 Thomas & Craighead, video/sound/installation artists
2017.04 Finbarr Barry Flood, art historian
2016.02 Douglas Crimp, art historian
2015.10 Jeremy Deller, conceptual/video/installation artist
2015.03 Janine Antoni, sculptor/photographer/performance artist
2014.02 Fred Wilson, conceptual artist
2013.10 Dario Gamboni, art historian
2012.10 Kara Walker, collage artist
2012.02 Richard Shiff, art historian
2011.09 Do Ho Suh, installation artist/sculptor
2011.03 Joseph Koerner, art historian
2010.11 Patricia Fortini Brown, art historian
2010.02 Terry Winters, painter/printmaker
2009.10 David Rosand, art historian
2009.03 Alexander Nemerov, art historian
2008.10 David Reed '68, painter/installation artist
2008.03 Martin Powers
2007.11 Gary Hill, video artist
2007.10 Barbara Stafford, art historian
2007.04 David Freedberg, art historian
2006.10 Mona Hatoum, installation artist/sculptor
2005.04 Ann Hamilton, installation artist
2004.09 Hans Haacke, conceptualist artist
2003.11 Jennifer Bartlett, painter/printmaker
2003.04 T.J. Clark, art historian
2003.04 Al Held, abstract painter
2002.11 Leo Steinberg, art historian
2000.04 Michael Fried, art historian
2000.01 Judy Pfaff, installation artist
1999.04 Linda Nochlin, art historian
1999.03 Adrian Piper, performance artist
1998.09 Robert Davidson, performance/installation artist
1997.09 Robert Morris, minimalist sculptor
1996.09 Jules Feiffer, graphic artist