Poetic Transformations in Matisse's Earliest Dance Images

Matisse's early dance paintings Joy of Life, Dance (I), and Dance (II) appear in countless art books in which their public receptions are repeatedly treated in a superficial manner. The fame of these works needs to be understood in a fuller context for students of dance and art. Matisse's early dance paintings are carefully examined in terms of their historical influences. His exposure to Isadora Duncan, Loïe Fuller, and the Ballets Russes is considered. The frequent citation of specific folk dances Matisse saw at the time he created these works is challenged. What becomes significant is how poetically Matisse transformed the many sources he absorbed into his own reductive style. Matisse's decades-long interest in dance is demonstrated by select examples from his dance oeuvre. Even as an invalid, Matisse continued to work with dance themes. His joy in watching dance and making dance works, including those for ballet, reflected his passion for colour, motion, and expression of the liveliness he saw in dance. It is hoped that this article can lead to more interdisciplinary scholarship and teaching between dance studies and art history.