Henri MatisseFrench, 1869–1954The Red Studio
May one see it?
Yes, receiving visitors
The Museum of Modern Art
RoomMoMA, Floor 5, 506New York, United States
On public display.
- Checked
- 10 days ago
- Source
- The museum's own collection data
About the painting
The Red Studio (French: L'Atelier Rouge) is an oil on canvas painting by French artist Henri Matisse from 1911. It is held in the collection of the Museum of Modern Art, in New York.
In 2004, L'Atelier Rouge came in at No. 5 in a poll of 500 art experts voting for the most influential of all works of modern art, along with works by Pablo Picasso, Marcel Duchamp and Andy Warhol.
Particulars
- Accession number
- 8.1949
Sources
- The Museum of Modern Art: the museum's own open data · fetched 10 days ago
- Image: The Museum of Modern Art — © the artist or rights holder
Meanwhile, in the life of Henri Matisse
The whole lifeJanuary 1908
Opening of the Académie Matisse
With the support of the Steins, Hans Purrmann, and other patrons, Matisse founded a private, non-commercial painting school, where he taught from January 1908 to 1911. About 100 students studied at the academy during that time.
October 1910
Trip to Seville
In October 1910 Matisse left for Spain; in a Seville hotel room he painted "Seville Still Life" and "Spanish Still Life."
1911
Visit to Russia
In connection with the installation of the panels, Matisse visited Saint Petersburg and Moscow at Shchukin's invitation and was given an enthusiastic reception. The artist admired ancient Russian icons: "Now that is great art."
1912
First Exhibition in the United States
Matisse's first American exhibition was held in New York, organized by Alfred Stieglitz at Gallery 291.
1912–1913
Seven Months in Morocco
Matisse spent about seven months in Morocco, producing roughly 24 paintings and numerous drawings. His Orientalist motifs — odalisques and goldfish in aquariums — date from this period.
1913
Armory Show: A Storm of Indignation
Several of Matisse's paintings were included in the Armory Show in New York and provoked a storm of indignation among the conservative American public. Nevertheless, his works continued to be exhibited in the United States until 1926.
