If ying is shaped by yang, if light is defined by dark, if force is more potent beside counterforce, then the art of Pablo Picasso is better understood next to that of Henri Matisse. And vice versa.

In the late 1940s, an infirm and increasingly despondent Henri Matisse made repeat journeys along the French Riviera from his hideaway in Vence to Antibes. It was a most peculiar pilgrimage. An ...

After mounting definitive retrospectives of Pablo Picasso in 1980 and Henri Matisse in 1992, New York’s Museum of Modern Art, in collaboration with London’s Tate Modern and Paris’s Musée Picasso and ...

New Yorkers are a competitive sort, as competitive about culture as they are about sports. So it adds up that the idea for the museum blockbuster to end all blockbusters—scrappy Catalan vs. refined ...

Through the next six months, the Detroit Institute of Arts is displaying a special exhibition of prints and drawing by two giants of 20th century visual art, Pablo Picasso and Henri Matisse. The ...

Purchase this and other timeless New Criterion essays in our hard-copy reprint series. I suspect that I learned more from my daily visits to MOMA that unforgettable week than I had in years of ...

Pablo Picasso (1881–1973) and Henri Matisse (1869–1954). Two genius painters representing the 20th century. Symbols of ‘Cubism’ and ‘Fauvism.’ Yet, their relationship defies simple summary. Though ...

Reviewing an exhibition of the Paul Guillaume Collection in Paris in July 1929, the critic Adolph Basler offered the following Reviewing an exhibition of the Paul Guillaume Collection in Paris in July ...

Modern art was born ugly. “It was Matisse who took the first step into the undiscovered land of the ugly,” an American critic wrote, describing the 1910 Salon des Indépendents in Paris. “The drawing ...