THE UNKNOWN MATISSE: A Life of Henry Matisse-The Early Years, 1869-1908.

THE UNKNOWN MATISSE: A Life of Henri Matisse–The Early Years, 1869–1908. By Hilary Spurling. Knopf. 480 pp. $40.

When Henri Matisse died in Nice in 1954 at the age of 84, he was an honored figure whose work had affected the course of art in the 20th century as surely as had the entirely different achievement of his sometime rival, Pablo Picasso. Reading this splendid book, we know how the story will end, yet Spurling, a British critic and biographer, makes us doubt the outcome. Her account of the adversity the young Matisse endured—financial, critical, physical, psychological—is so persuasive that, time and again, we expect him to renounce his vocation and find another career.

The eventual master of luxuriant, voluptuous color was born into the cold, dank world of French Flanders, near the Belgian border, and spent the first quarter of his life in that gloomy landscape. His father was a seed merchant, and it was assumed that Henri too would find a middle-class career. He was studying to be a lawyer when he discovered, at 20, his true calling. Despite the opposition of his family and the cartoonish scorn of villagers, he moved to Paris to study art in one of the establishment schools.

Of course, he initially failed his drawing exam for admission to the École des Beaux-Arts. But he persisted, was accepted, and went on to immerse himself in the Parisian art world. After years of often desperate poverty, he told friends in 1903 that he had lost all desire to paint and had almost decided to give up. But he did not surrender to circumstance, and by 1908 he was on the brink of fame. The rivalry with Picasso had begun.

Matisse’s preoccupation with light drove him to seek its origin within the canvas itself and to release the light in colored emanations from that source. He strove to free color from its representational role and to use it to interpret reality. In so doing, he overturned the traditional objective way in which Western painters had represented reality. "He was," writes Spurling, "substituting for their illusion of objectivity a conscious subjectivity, a 20thcentury art that would draw its validity essentially from the painter’s own visual and emotional responses." Matisse’s work, paintings that experimented with light and color through scenes of simple domesticity, seemed to many of his contemporaries an assault on civilization itself. To her great credit, Spurling makes us understand why.

Matisse painted windows and doors opening onto landscapes of infinite promise and possibility. "This is what I find so particularly expressive," he once said, "an open door like this, in all its mystery." At the end of his life, Matisse believed that his entire career might be seen as a flight from the dark world of his northern upbringing to the light and color of the south, where the Mediterranean sun freed his genius. An insistent sense of how physical place worked on Matisse and drove him to achievement informs this biography. Spurling opens a window onto the immense and varied landscape of a life, and the intelligence she brings to observing the life bathes the landscape in light.

—James M. Morris