Matisse, Dr. Barnes, and The Dance Archival Letters

Letter, Henri Matisse to Albert C. Barnes, October 11, 1930. Albert C. Barnes Correspondence

Paris October 11, 1930

Dear Sir,

I’ve been back in France since yesterday after a rather hectic voyage, as our boat preceded the Olympic which fell into a storm a few hours later.

During the voyage my mind remained in Merion, fixed on the decoration that you have kindly commissioned from me.

Even if I already see that this work represents for me at least a year-long effort and makes me postpone an entire project that I had already outlined before my departure for New-York,

Even if I know that the architecture of the room makes the decoration interesting, it must be said, as you pointed out yourself, that it adds another difficulty to the problem.

All these points laid out, I don’t know, if truth be told, what price to ask from you for this work.

I think that the best would be for you to tell me how much you were thinking of dedicating to this painting. You know enough about the work for your answer to certainly help us reach an agreement.

No matter what happens, please believe dear sir that I still feel deeply honored by the fact that you entrusted me with finishing the architecture of this room.

In the meantime, please pay my respects to Madame Barnes and please believe me to be

Yours faithfully,

Henri Matisse

Letter, Henri Matisse to Albert C. Barnes, December 23, 1930. Albert C. Barnes Correspondence

Dear Mr. Barnes,

I think it would be useful when installing the decoration that we indicate on the paper template the corresponding points on the wall and on the paper_ in this way we could nail the canvas without hesitation

Like this:

[drawing]

Here’s how: 2. Please

the linden wood on which we will nail the canvas later _ paint the part going on the wall, the other side we will hot wax.

I had a good session this morning at Mr Dewey’s house_ the day after tomorrow, I will take the train to Merion.

Pay my respects to Ms. Barnes and believe me, dear sir

Yours,

Henri Matisse

Letter, Henri Matisse to Albert C. Barnes, April 24, 1931. Albert C. Barnes Correspondence

Nice, 24 April 1931

Dear Monsieur Barnes,

Your various letters have made me happy. If I only responded by telegr,. it was not only to answer you sooner, but also to not be tempted to speak of my work, for I have noticed that anything one might say about a painting being executed is that much energy one diverts from it. I am enclosing a series of photos that I hope will amuse you, but be sure not to consider anything here as definitive.

Series I – First contact with the surface.

Series II – Second approach, more architectural I believe.

I am at this time exploring colors.

I hope to see you this summer, when are you thinking about coming to Nice?

I glanced through your book on the French primitives with interest; as soon as the decoration allows me the time, I will go see the originals that are in the Nice region.

The modern paintings that are in Russia and that come from private collections confiscated by the new government cannot get across the border without running the risk of being seized by the former owners living in Europe; therefore none will be in my exhibition. How unfortunate it is that you didn’t lend me Studio with Goldfish to console me.

Monsieur Barnes, do send my regards to Madame Barnes.

Yours faithfully,

Henri Matisse

Letter, Henri Matisse to Albert C. Barnes, February 23, 1932. Albert C. Barnes Correspondence

Nice, February 23, 1932

Dear Doctor Barnes and friend,

It is while consulting the plan for the sketch that I started to inspect an error. It manifested itself entirely when I saw on your paper models made at Merion in such a clear manner, the presence of a band of paper underneath each pendentive. Your cable leaves me no more doubt about it. I cannot explain to myself what has happened and how I could have omitted these two pieces when the paper models were placed upon the canvases. I neglected nothing in order that everything should conform, and however the error is made. The tragedy for me is that the decoration is almost finished and that it is impossible for me to add the omitted bands. If when your pupil who came in July had called your attention to the fact that the measurements had been taken by him and by me with the greatest care, you would have warned me of the mistake – at that time the consequences would not have been as serious and I could modify my composition. However, the thing is as it is and all I have to do is start again; however, not wishing to lose my work I am finishing the canvases in the present and wrong measurements. I have worked every day from morning until evening since my return to Nice – I am sending you a photograph and a gouache done last Saturday which will give you an idea of the development of the decoration.

I thank you for suggesting to come to Paris immediately. I do not see the use of it. It would suffice that you send me the paper models.

I think you will willingly excuse my error if you put yourself a moment in my place. My courage remains as integral in spite of the fact that the shock was severe. I hope that the second composition will benefit from the effort made on the first one; fortunately, also, my knees are getting better and better and do not bother me.

In the middle of all these worries, I do not forget the small gouache for Mrs. Barnes and ask her to excuse me for not having sent it yet.

Please present my respectful salutations and remember me to all the Foundation and believe me dear Doctor and friend,

Yours very devotedly,

Henri Matisse

Letter, Henri Matisse to Albert C. Barnes, December 6, 1932. Albert C. Barnes Correspondence

Nice, Dec. 6 1932

Dear Doctor Barnes,

I sent you a letter some time ago already asking you for information about the decoration and I believe I should have already received a reply if my letter has arrived. As I see nothing coming, I’ll start over.

Given the depth of the measurements I think that the decoration is not entirely visible from the main viewpoint which is in the gallery directly across and below the middle arch.

[drawing]

I’m sending you enclosed a tracing done after a photo on which I would like you to indicate what the viewer placed as in the drawing can see of the two panels on the side. It could be indicated like this on the tracing

[drawing]

Because I think that with an overall movement, each panel still needs to have its own sufficient rhythm ??

Likewise on a second tracing what a viewer placed in D can see of the B and C panels

And on a 3rd t. what the viewer placed in F can see of the A and B panels.

I was thinking that the Pinto brother who does decoration could make these approximate quite precise indications. As precise as viewing conditions allow.

My letter was pretty long, it told you that the decoration was following a normal and logical development but a lot faster than for the older panel. My effort wasn’t in vain _ you will be able to see for yourself, as I am going to send you photos.

I also hoped that the Pinto brothers’ work that I didn’t ask to see in Vence, not out of indifference but out of discretion, was to your liking.

I was fixated on the subject 2 or 3 days ago when I received 2 newspapers articles saying that you expressed your satisfaction with them by buying their works for the foundation. I don’t know who sent them (the stamp was from Philadelphia). I thank the sender for bringing this to my attention.

I was asking you if you would be so kind as to send me or have sent to me Mr. John Dewey’s address as I wanted to ask him to come see the exhibition of the etchings I made for Mallarmé exhibited at Marie Harriman’s currently_ I sent my invitation to Pierre who must forward it. I was also asking you to go see it, anxious to have your opinion of it.

With news of your wife’s health and of yours, and my best regards to the Merion bunch, I remain

Yours faithfully,

Henri Matisse

Telegram, Henri Matisse to Albert C. Barnes, February 2, 1932. Albert C. Barnes Correspondence

February 2, 1932.

Nice

Architect’s plan and decoration not matching for width of the pendentives please resend for verification package of plans maybe through Keller or another way. Cable their departure_ Matisse

Telegram, Henri Matisse to Albert C. Barnes, February 21, 1932. Albert C. Barnes Correspondence

Nice, France.

February 21, 1932.

Pendentive base decoration is fifty four centimeters am I considerable mistake?

Telegram, Albert C. Barnes to Henri Matisse, February 21, 1932. Albert C. Barnes Correspondence

Philadelphia

February 21 1932

[You] made enormous mistake stop Left pendentive base

Real dimensions left pendentive base one meter right pendentive base one meter eleven millimeters stop

Template we gave you had correct dimensions stop Your mistake from your omission forty five centimeters strip left pendentive base and forty five centimeters seven millimeters strip right pendentive base which bands were included in the template package you had stop Should I come [to] Paris immediately with Template

Letter, Henri Matisse to Albert C. Barnes, February 22, 1932. Albert C. Barnes Correspondence

Feb 22 1932

Nice

Thousand apologies because new composition is necessary I will finish current panels almost finished and restart on new canvases. Send template. Useless [to] come. Thanks. Letter follows.

Telegram, Henri Matisse to Albert C. Barnes, May 3, 1933. Albert C. Barnes Correspondence

LC Barnes Foundation

Merion Penna

Arriving on Rex crate very large packing complicated forewarn freight agent Special procedure for customs

Telegram, Albert C. Barnes to Henri Matisse, May 3, 1933. Albert C. Barnes Correspondence

Philadelphia

May 3, 1933

Essitam

Nice

Understood

Telegram, Henri Matisse to Amelie Matisse, n.d. [probably May 14 or 15, 1933]. Albert C. Barnes Correspondence

LC Essitam Nice

Decoration installed

Splendor tender kisses

Letter, Henri Matisse to Albert C. Barnes, May 19, 1933. Albert C. Barnes Correspondence

N. York May 19, 1933

Dear Doctor. Barnes,

I would like to not leave New York without saying my goodbyes and expressing my thanks and my gratitude for the opportunity that you have given me to make the important work of the decoration – I would also be very interested in seeing this work again, for important reasons that form the basis of my artistic life.

May I go to Merion Tuesday or Wednesday – I leave Thursday for France – I would arrive at 1 o’clock and would stay at the Foundation until 2 or 3 o’clock and I would have also only Pierre who would accompany me, have lunch [sic] –

I do not want to bother you in any way, I know that your next departure and your fatigue that complicates it leaves you little time available so do not disturb your day for me –

I would have liked to take advantage of my visit to Merion to request a few small sittings that I might have a record to make an etched portrait of you in the style of the one of Poe, Baudelaire and J. Dewey – but the circumstances did not lend themselves to it and I must put this off for another time –

I have followed the good advice my doctor gave me and already feel quite rested –

My respectful regards to Madame Barnes.

Yours faithfully,

Henri Matisse