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Although in a more formal setting, Pierre Henri Matisse spent his career as an artist managing cartography for a government agency.
You might think that a painter unable to paint might give up in despair, but Matisse just adopted a different medium, using scissors to cut up paper that had been painted by studio assistants in colours he had chosen.
The guide dog trainer, who lives in Belgium, said she did not put Matisse on the tightrope as he disliked heights.
Chase does the trick very well, Matisse has never been at that height.
Matisse is in the working group, which he's won the past two years at Westminster.
Matisse was already there, and the two artists fraternized.
Writing about Odalisque au fauteuil noir in a letter dated January 17, 1942, Matisse wrote, "I have also begun an important canvas of ma petite princesse de reve".
Such image management helped Matisse to pacify his critics, but it came at a cost, lodging in the public's imagination the idea that his work concerned itself merely with the hedonistic pleasures of color and semiabstracted form.
One senses that de Seligny, who was the curator of the Musee Matisse, knows almost everything there is to know about Matisse, but consciously restricts the text to a brief survey of each of the creations in the Chapel, a window into the thoughts and experience of the artist.
Matisse had retreated to Vence that summer from Nice, which was under threat from Allied invasion after German capitulation in North Africa.