Henri Matisse &ldquo;lived and worked in a beautiful muddle&rdquo;, said Martin Gayford in The Spectator. Throughout his long career, he was &ldquo;surrounded by clutter&rdquo;, from textiles and ceramics to African sculptures and unusual cooking utensils. These objects would often turn up in his pictures, performing certain roles as if they were &ldquo;actors&rdquo;, sometimes appearing to take on lives of their own. This &ldquo;marvellous&rdquo; new exhibition at the Royal Academy looks at how Matisse was influenced by his possessions, chronicling the role these &ldquo;odds, ends and bibelots&rdquo; played in the creation of his &ldquo;modern masterpieces&rdquo;. The show brings together around 30 objects Matisse kept in his studio, pairing them with drawings, paintings, sculptures and collages in which they are either directly depicted or mined for inspiration. We learn how everything from a humble chocolate pot to a North African cotton screen could &ldquo;turn up in picture after picture&rdquo;, informing the images with which Matisse changed art forever.If you&rsquo;re looking for &ldquo;human drama&rdquo; and &ldquo;creative turbulence&rdquo;, this isn&rsquo;t the exhibition for you, said Jonathan Jones in The Guardian. Indeed, it presents Matisse as an artist &ldquo;more interested in interior decor than existential anguish&rdquo;. Worse still, it occasionally shows him up as &ldquo;exploitative, patriarchal and&nbsp;colonial&rdquo;. In one instance, we see a &ldquo;chunky&rdquo; bronze sculpture of two nudes embracing that was apparently inspired by a photograph in L&rsquo;Humanit&eacute; f&eacute;minine &ndash; an &ldquo;ethnographic&rdquo; publication that can bluntly be described as a &ldquo;racist mag&rdquo;. Matisse was fascinated by African art, but seemingly lacked any &ldquo;real empathy&rdquo; for it, as evidenced by an unfinished painting from 1907 that depicts an African statuette as one &ldquo;decorative object&rdquo; among many in a still-life arrangement. On the evidence of this show, Matisse was a magpie who co-opted the imagery of other cultures for &ldquo;oddly trivial&rdquo; ends.You could argue that no one needs to see Matisse&rsquo;s &ldquo;knick-knacks and furnishings&rdquo; to understand his genius, said Laura Cumming in The Observer. But he truly &ldquo;loved stuff&rdquo;, and examining the interplay between the objects and images really does shed light on his creative process. In this exhibition, a Chinese calligraphic panel is suspended above some of Matisse&rsquo;s late cutouts; the figures in these works appear to be &ldquo;dancing through space&rdquo; with the same &ldquo;sinuous motion&rdquo; as the Chinese characters. In such juxtapositions, &ldquo;one truly has the chance to see Matisse&rsquo;s mind at work&rdquo;. What a &ldquo;gorgeous&rdquo; show.

Exhibition Of The Week Matisse In The Studio

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