Matisse arrived in Moscow on October 23, 1911. The next day, he visited the Tretyakov Gallery and asked to be shown their collection of Russian icons. Matisse was delighted by the icons and declared that to see them was more than worth the arduous trip. Matisse spent much of his time in Moscow frantically visiting monasteries, churches, convents, and collections of sacred images. Excited by what he saw, he shared it with all who came to interview him during his stay in Moscow. “They are really great art,” Matisse excitedly told an interviewer. “I am in love with their moving simplicity.… In these icons the soul of the artist who painted them opens out like a mystical flower. And from them we ought to learn how to understand art.”
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馬蒂於1911年10月23日抵達莫斯科。第二天，他訪問了特列季亞科夫畫廊並要求展示他們的俄羅斯偶像。 馬蒂斯對這些圖標感到很高興，並宣稱要看到它們不僅值得進行艱苦的旅行。 馬蒂斯大部分時間都在莫斯科瘋狂地參觀修道院，教堂，修道院和神聖圖像。 他對所看到的一切感到興奮，並與在莫斯科逗留期間前來採訪他的所有人分享。 “他們真是偉大的藝術，”馬蒂斯興奮地告訴採訪者。 “我愛上了他們動人的簡約。......在這些圖標中，畫出它們的藝術家的靈魂就像一朵神秘的花朵。 從他們那裡我們應該學習如何理解藝術。“
icon ：聖相（像）；畫像；版畫；圖像：尤其指東方教會拜占庭禮天主教所供奉基督或聖人的平面畫像、版畫、聖像。禮儀用的聖像所描繪的是降生成人的基督，經由圖像，讓我們瞻仰主的榮耀；而聖母和其他聖人的聖像也表示基督在聖人身上受到光榮：使人轉化成天主的模樣、肖像。 Icon 又稱 ikon ，源自希臘文。參閱 idolatry 。
monastery ： (1) 隱修院；修道院：共誦日課、度團體奉獻生活的修院。 (2) 會院：專指與外界隔絕、遵守禁地規則的男女會院。
Church ： (1) 教會；教會團體；基督徒團體；教派；會眾：指耶穌建立的信仰團體（集會），亦即天主在世界上的家庭－教友透過洗禮而成為一家人，彼此形同手足。基督教會所有的要素，圓滿地保存在天主教中，而天主教的四個特徵是至一、至聖、至公、從宗徒傳下來的教會。 (2) 教堂；天主堂；禮拜堂（基）：為敬禮天主而專用的神聖房屋；指所有信徒都有權利到此參與（舉行）天主的敬禮；其次為聖堂 oratory （拉丁文為 oratorium ），專為某一團體敬禮天主之用；最後為私用小聖堂 private chapel （拉丁文為 sacellum privatum ），經教區教長許可，只為私人或家族之用（法典 1214-1229 ）。
convent ：會院：尤其指修女會院。
The Conversation was another picture painted before the trip to Moscow. Shchukin, writing to Matisse on August 22, 1912, said of this picture: "I often think of your blue painting (with two figures)... It reminds me of a Byzantine enamel, its colors are so rich and deep."[5] Matisse's first exposure to Byzantine art may have come through Signac. When the divisionist travelled to Venice and saw the Byzantine mosaics in San Marco, he decided to change his dots to squares. He brought back a number of postcards which he doubtless showed his disciple in St. Tropez. The impression of Byzantine mosaics seems to have stayed with Matisse. After his death, several photographs of the interior of Hagia Sophia were found pinned to the wall of his apartment in Nice.
Matisse arrived in Moscow on October 23, 1911. The next day, he visited Ilya Ostroukhov, painter and collector and "patron" of the Tretiakov Gallery, whom he had met in Paris, and asked to be shown his collection of Russian Icons. A day later Oustroukhov recounted the incident:
"Yesterday evening he visited us. And you should have seen his delight at the icons. Literally the whole evening he
wouldn't leave them alone, relishing and delighting in each one. And with what finesse! ... At length he declared that
for the icons alone it would have been worth his while coming from a city even further away than Paris, that the icons
were now nobler for him than Fra Beato... Today Shchukin phoned me to say that Matisse literally could not sleep
the whole night because of the acuity of his impression."[6]
"From that moment on, "writes Pierre Schneider, "Matisse spent all his time going around to visit churches, convents, and collections of sacred images, his excitement at the first encounter not having diminished one iota. He shared it with all who came to interview him during his stay in Moscow." [7]
On Oct. 31, Ilya Ostroukhov wrote to D.J. Tolstoy, the curator of the Hermitage Museum: "Matisse is here. He is deeply affected by the art of the icons. He seems overwhelmed and is spending his days with me frantically visiting monasteries, churches and private collections." [8]
"They are really great art," Matisse excitedly told an interviewer. "I am in love with their moving simplicity which, to me, is closer and dearer than Fra Angelico. In these icons the soul of the artist who painted them opens out like a mystical flower. And from them we ought to learn how to understand art." [9] What is one to make of this expression of heartfelt admiration for the old Russian icons? From these icons "we ought to learn how to understand art." This is a very strong statement. It sounds exaggerated. Yet, Matisse was habitually reserved and cautious in his statements, not prone to exaggeration. Our endeavor in these pages may be defined as an investigation of the meaning and validity of this assertion.
"From them we ought to learn how to understand art." Not one particular kind of art, but art in itself. The icons offered Matisse a revelation of what art is. This goes deeper than stylistic "influence." To speak of Matisse imitating or being influenced by icons is to miss the point. His relationship with them is on a deeper level. In them he has recognized, in an especially pure form, the essence of art. Art is, for Matisse, essentially a manifestation of the life in which both nature and the artist participate. Throughout his career Matisse was a truly original artist. This does not mean that one cannot find in his work what are commonly called "influences" of other artists, in this case the Russian iconographers. It means that Matisse's art is directly rooted in the place where art originates, in the wellspring of being which we mentioned at the beginning. Precisely because he strives to be true to nature, Matisse converges with the icon painters.
Matisse arrived in Moscow on October 23, 1911. The next day, he visited Ilya Ostroukhov, painter and collector and "patron" of the Tretiakov Gallery, whom he had met in Paris, and asked to be shown his collection of Russian Icons. A day later Oustroukhov recounted the incident:
"Yesterday evening he visited us. And you should have seen his delight at the icons. Literally the whole evening he
wouldn't leave them alone, relishing and delighting in each one. And with what finesse! ... At length he declared that
for the icons alone it would have been worth his while coming from a city even further away than Paris, that the icons
were now nobler for him than Fra Beato... Today Shchukin phoned me to say that Matisse literally could not sleep
the whole night because of the acuity of his impression."[6]
"From that moment on, "writes Pierre Schneider, "Matisse spent all his time going around to visit churches, convents, and collections of sacred images, his excitement at the first encounter not having diminished one iota. He shared it with all who came to interview him during his stay in Moscow." [7]
On Oct. 31, Ilya Ostroukhov wrote to D.J. Tolstoy, the curator of the Hermitage Museum: "Matisse is here. He is deeply affected by the art of the icons. He seems overwhelmed and is spending his days with me frantically visiting monasteries, churches and private collections." [8]
"They are really great art," Matisse excitedly told an interviewer. "I am in love with their moving simplicity which, to me, is closer and dearer than Fra Angelico. In these icons the soul of the artist who painted them opens out like a mystical flower. And from them we ought to learn how to understand art." [9] What is one to make of this expression of heartfelt admiration for the old Russian icons? From these icons "we ought to learn how to understand art." This is a very strong statement. It sounds exaggerated. Yet, Matisse was habitually reserved and cautious in his statements, not prone to exaggeration. Our endeavor in these pages may be defined as an investigation of the meaning and validity of this assertion.
"From them we ought to learn how to understand art." Not one particular kind of art, but art in itself. The icons offered Matisse a revelation of what art is. This goes deeper than stylistic "influence." To speak of Matisse imitating or being influenced by icons is to miss the point. His relationship with them is on a deeper level. In them he has recognized, in an especially pure form, the essence of art. Art is, for Matisse, essentially a manifestation of the life in which both nature and the artist participate. Throughout his career Matisse was a truly original artist. This does not mean that one cannot find in his work what are commonly called "influences" of other artists, in this case the Russian iconographers. It means that Matisse's art is directly rooted in the place where art originates, in the wellspring of being which we mentioned at the beginning. Precisely because he strives to be true to nature, Matisse converges with the icon painters.
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