Henri Matisse’s 1947 cut‐paper gouache “The Horse, the Rider and the Clown” evokes circus dynamism with a rose-pink equine form, a looping yellow rider’s line, black clown-like flourishes, and a cobalt-blue field punctuated by green and yellow accents.
Henri Matisse’s 1947 cut-paper gouache “The Nightmare of the White Elephant” juxtaposes a vivid yellow field with red slashes, a ghostly white elephant form, a blue starburst, and sinuous black vegetal shapes to evoke dreamlike tension and fantastical imagery.
Henri Matisse’s 1947 cut-paper gouache “The Circus” evokes the thrill of the big top through a cobalt-blue field punctuated by a red ring, a yellow “CIRQUE” column, orange letter fragments, white ribbon-like shapes, and a black acrobat silhouette.
Henri Matisse’s 1917 Three Sisters and “The Rose Marble Table” portrays three young women—one seated, two standing—around a softly veined rose‐marble tabletop, set against broad apricot, lemon, and slate panels in a harmonious, flattened interior.
Henri Matisse’s Standing Nude near Window (c. 1918–1920) presents a solitary nude beside pale shutters and patterned drapery, rendered in soft grays, warm terracottas, and lavender accents to create a serene interior infused with Mediterranean light.
Henri Matisse’s 1918 Blue Villa depicts a sunlit Mediterranean house with turquoise roofs and white walls, set against ochre grasses and a gray-blue sky, blending decorative color fields with expressive brushwork.
Henri Matisse’s 1912 Seated Riffian portrays a young Berber man from Morocco draped in an emerald-embroidered cloak, set against bold planes of yellow, blue, and green that flatten space and celebrate decorative color harmony.
Henri Matisse’s 1917 Three Sisters with Grey Background depicts three women—one standing in yellow and two seated in green and purple—against a muted grey field, blending simplified form, calligraphic line, and harmonious color for an intimate modernist portrait.
Henri Matisse’s 1928 Reclining Odalisque portrays a languid figure draped in white against a vibrant orange foreground and architectural grid, rendered in thick, expressive brushstrokes that fuse Fauvist color with Matisse’s later decorative abstraction.
Henri Matisse’s 1917 Head of a Young Girl presents an intimate close-up of a child’s face rendered with bold brushwork, a soft lavender background, and a mint-green bow, balancing emotional depth with decorative clarity.
Henri Matisse’s 1917 Three Sisters with an African Sculpture shows three elegantly robed women in a patterned interior, centered around a carved African figure atop a mantel, fusing decorative color harmony with cross-cultural reverence.
Henri Matisse’s 1919 The Green Dress captures a serene domestic moment: a woman in an emerald floral gown soaking her foot in a red basin, set against a richly patterned interior of rust and ivory panels.
Henri Matisse’s 1922 Interior with Two Figures, Open Window portrays two women in a sunlit room overlooking the sea, rendered with fluid brushstrokes, soft pastels, and a harmonious interplay of indoor patterns and outdoor light.
Henri Matisse’s 1922 Chinese Casket features a blue‐patterned table laden with a pale Chinese porcelain casket, pears, roses, and a lacquer box, flanked by two women against floral‐patterned panels.
Henri Matisse’s 1907 Blue Still Life showcases a patterned blue tablecloth strewn with fruit, flowers, and a pale turquoise urn, uniting bold color harmony with flattened perspective.
Henri Matisse’s 1912 Studio with Goldfish depicts a cobalt-blue artist’s workspace where a red-brown table holds goldfish in glass bowls, flowers in a vase, and a draped easel, uniting bold color contrasts with flattened perspective.
Henri Matisse’s 1905–06 The Joy of Life depicts nude figures dancing, reclining, and playing music in a vibrant, Fauvist landscape of bold color and flattened space.
Henri Matisse’s 1920 High Tide portrays the Normandy coast at high tide with bold, gestural brushstrokes and a harmonious palette of sea-greens, pastel pinks, and chalky whites.