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In this study, John O'Brian argues that Henri Matisse's sober presentations of himself were calculated to fit with the social constraints and ideological demands of the times. Matisse's strategy included co-operating with museums, cultivating private collectors, playing off dealers one against another, and reassuring the media that, whatever his reputation as an avant-gardist, the conduct of his life was solidly bourgeois. Moving from the late 1920s, when Matisse's output was shedding its outlaw reputation, to the early 1950s, when his work was canonized, O'Brian shows how the way Matisse's work was viewed changed as attention shifted away from the seductiveness of his subject matter to the seductiveness of his paint. The art's resolute rejection of political concerns, its deployment of decorative design for visual satisfaction, and its representations of pleasure encouraged American audiences, who in the 1930s deemed the art disreputable, to celebrate its gratifications by the early years of the Cold War.
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