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　　“If my story were ever to be written down truthfully from

start to finish, it would amaze everyone,” wrote Henri Matisse. It

is hard to believe today that Matisse, whose exhibiti*** draw huge

crowds worldwide, was once almost universally reviled and

ridiculed. His resp***e was neither to protest nor to retreat; he

simply pushed on from one innovation to the next, and left the

world to draw its own conclusi***. Unfortunately, these were

generally false and often damaging. Throughout his life and

afterward people fantasized about his models and circulated

baseless fabricati*** about his private life.

Fifty years after his death, Matisse the Master (the second half

of the biography that began with the acclaimed The Unknown Matisse)

shows us the painter as he saw himself. With unprecedented and

unrestricted access to his voluminous family correspondence, and

other new material in private archives, Hilary Spurling documents a

lifetime of desperation and self-doubt exacerbated by Matisse’s

attempts to coun***ct the violence and disruption of the twentieth

century in paintings that now seem effortlessly serene, radiant,

and stable.

Here for the first time is the truth about Matisse’s models,

especially two Russians: his pupil Olga Meerson and the

extraordinary Lydia Delectorskaya, who became his studio manager,

secretary, and companion in the last two decades of his life.

But every woman who played an important part in Matisse’s life

was remarkable in her own right, not least his beloved daughter

Marguerite, whose honesty and courage surmounted all ordeals,

including interrogation and torture by the Gestapo in the Second

World War.

If you have eve***ondered how anyone with such a tame public

image as Matisse could have painted such rich, powerful,

mysteriously moving pictures, let alone produced the radical

cut-paper and stained-glass inventi*** of his last years, here is

the answer. They were made by the real Matisse, whose true story

has been written down at last from start to finish by his first

biographer, Hilary Spurling.

From the Hardcover edition.

Illustrati***

Preface

CHAPTER ONE?1909: Paris, Cassis and Cavali~re

CHAPTER TWO?1910." Issy-les-Moulineaux, Collioure and Spain

CHAPTER THREE?1911: Seville, Paris, Collioure and Moscow

CHAPTER FOUR?1912—1913: Tangier andParis

CAPTER FrVE?1913-1915: Paris and Tangier

CHAPTER SIX?1916—1918: Paris and Nice

CHAPTER SEVEN?1919—1922: Nice, Paris, London and Etretat

cHAPTER EIGHT?1923—1928: Nice and Paris

CHAPTER NINE?1929—1933: Nice, Paris, America and Tahiti

CHAPTER TEN .1933—1939: Nice and Paris

CHAPTER ELEVEN?1939—1945: Paris, Nice, Cihoure, St-Gaudens and

Vence

CHAPTER TWELVE?1945—1954: Vence, Paris and Nice

Key to Notes

Notes

Index

　　Hilary Spurling was born in England and educated at Oxford

University. She has been theater critic and li***ry editor of The

Spectator and a book reviewer for The Daily Telegraph, and has

written biographies of Ivy Compton-Burnett and Paul Scott. The

first volume of her biography of Henri Matisse, The Unknown

Matisse, was an Editors’ Choice book of The New York Times. Since

its publication, Ms. Spurling has written and lectured extensively

on Matisse and originated an exhibition about the importance of

textiles in the artist’s life and work that opened at the Royal

Academy in London in the spring of 2005 and at the Metropolitan

Museum in New York in the summer of 2005.

　　From the Hardcover edition.

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书籍介绍

“If my story were ever to be written down truthfully from start to finish, it would amaze everyone,” wrote Henri Matisse. It is hard to believe today that Matisse, whose exhibiti*** draw huge crowds worldwide, was once almost universally reviled and ridiculed. His resp***e was neither to protest nor to retreat; he simply pushed on from one innovation to the next, and left the world to draw its own conclusi***. Unfortunately, these were generally false and often damaging. Throughout his life and afterward people fantasized about his models and circulated baseless fabricati*** about his private life.

Fifty years after his death, Matisse the Master (the second half of the biography that began with the acclaimed The Unknown Matisse) shows us the painter as he saw himself. With unprecedented and unrestricted access to his voluminous family correspondence, and other new material in private archives, Hilary Spurling documents a lifetime of desperation and self-doubt exacerbated by Matisse’s attempts to coun***ct the violence and disruption of the twentieth century in paintings that now seem effortlessly serene, radiant, and stable.

Here for the first time is the truth about Matisse’s models, especially two Russians: his pupil Olga Meerson and the extraordinary Lydia Delectorskaya, who became his studio manager, secretary, and companion in the last two decades of his life.

But every woman who played an important part in Matisse’s life was remarkable in her own right, not least his beloved daughter Marguerite, whose honesty and courage surmounted all ordeals, including interrogation and torture by the Gestapo in the Second World War.

If you have eve***ondered how anyone with such a tame public image as Matisse could have painted such rich, powerful, mysteriously moving pictures, let alone produced the radical cut-paper and stained-glass inventi*** of his last years, here is the answer. They were made by the real Matisse, whose true story has been written down at last from start to finish by his first biographer, Hilary Spurling.