 La dernière. Je veux premièrement remercier Sylvie Patry et Tom Collins de la Fondation de l'Invitation pour participer à ce beau événement. C'est un bon moyen de garder les Matisse vivant et d'organiser un symposium comme ça. Je veux aussi remercier à l'advance de tous les publics qui restent et qui ont besoin d'être les meilleurs accents français. Je veux remercier pour ça. C'était une bonne idée de placer ma communication à la fin de ce symposium. Pour la collection de Matisse dans le setting de la museum. Qu'est-ce que question ? Qu'est-ce que problème, aussi, quand votre museum est isolé dans une terre mondiale ? Téorie. Of course, Matisse still exercises a great power of fascination and attraction. Recent and successful exhibition organized by my distinguished colleague proves that. But to renew the interest of visitors, search of new audience, you need to show conviction to bring them in Le Câteau Cambresi. So perhaps now I can to show you where is Le Câteau Cambresi. Matisse, you see, it's here. We are here in the world, not too far from the Belgian border. So now you know where is the museum. The Matisse Museum in Le Câteau is not located in a tourist area. This past of North of France is primarily agricultural and in a region of great economic and social difficulty. The museum also has another world in the addition to its cultural mission. It's a structural element of a local development, a key player in the development of the tourism economy. A strong pressure is on us on the part of elected official people of tourism and on economic world. But also by the lover of Matisse who always want to request more quality in our exhibition. Also to sustain the museum we based our work on the organization of regular exhibition in particular trying to find a little or not no element of the work of Matisse. Also trying to find a links with this territory to make the first, to make local people first Matisse ambassado. To illustrate my point let's take an example as an example the last four exhibition we made. We bring Matisse, Matisse cut into color, Matisse engraving the other instrument and Matisse rhythm and meaning. Each exhibition developed a term that meets this desire to discover and life Matisse. Each of this exhibition we will discuss could be organized with the commitment et generosity of the Matisse family. I should like to thank them and I also thank the museum colleague with whom we work regularly. I have not addressed here voluntary temporary exhibition dedicated to contemporary artists that also help illustrate Matisse influence on contemporary creation. As you know, Matisse was born in Le Câteau, 7000 inhabitants. Not so far from Belgian border in the region of Picardie. He found the museum in 1952 two years before his death in the town hall that has seen generation of Matisse in the wedding hall. That was the town hall. The first Matisse museum was here and now it's a new Matisse museum. This picture is took by a plane. There is no skyscraper in Le Câteau. The museum was then transferred to a former place of Fenlon and in 2002 the museum was expanded and another department took the leadership. This area was an important industrial region including at the time of Matisse production of textile. Matisse spend his shield hold in Boen surrounded by those producer of color silks the radiating decorative motif. That's the museum. That's the house in Boen and that's the type of textile was made in Boen. Psyche with a lot of color and of course we just spoke about the decorative. You can see all this motif. Absolutely clear. The first exhibition Weaving Matisse Tissée Matisse en français. This exhibition was created to remember the influence of the textile design decorative motif color in the work of Matisse. This territory was home for over 300 years of a family of rivers. The Matisse family. We forget that the Matisse family was a family rivers for 300 years. I think it can explain a lot of things after. So the past, the history, the retage of the the environment that tells the exhibition make it clear that it's not possible to consider the work of Matisse without considering the influence of the Norfolk France. Textiles in all its form through the work of Matisse. The exhibition features textiles which belong to Matisse from all sources and origin with a significant portion dedicated to Polynesia. Other types of textiles and you have this type of book who was made each year for what we call the collection with different textiles made each year. All tapestries made by Matisse were also met as a test made to hush her with original drawing of Jacinthe get rid for the occasion. So here we have some pictures of the exhibition you have typically two shawls whose name is shawl of Bowen one belong to Matisse and a typical with a machine weaving loom from Bowen at this time. As I said, all the tapestries we spoke about that yesterday was bring together you have Taiti 1, Taiti 2 Fenêtre à Taiti 1 et Fenêtre à Taiti 2 Océanie Le Ciel Yeah That's tapestry because what we saw here it was a tapestry a tanture made by Hasha it's not the paper cut out Hasha was an Englishman who made we speak about that after but to make a tapestry to to Matisse for Matisse you have the two one and when I said that Matisse was very disappointed by the second version of the weaver made so a big mistake when he made the second version of FAMOLUT also we just saw Mimosa we have one type of Shazubl Polynesia Verdur here it was very interesting to discover the Hasha archive we saw in these pictures the trying made by Hasha for making a textile by Matisse with a different type of color of textiles and the motif came from drawing made by Matisse this knowledge of textiles this mastery of techniques we discovered from Matisse has also helped to understand that it was essential the paper cut out that will be another story different type of test finally there is one textile made but Matisse only made one dress with these textiles and don't want to make any more textiles with with the research of of Hasha we have a square made by Matisse from Hasha Hasha made a different type of one for Picasso it was for a charity business and we have trying with other color made at the beginning finally it's a blue one we made we really discover the drawing of Jacin and you see it was made for textile the mastery of scissors is essential also in the story of paper cut out but we will text about them then later the exhibition has changed the knowledge around the work involving textile dimension in Matisse work we were able to collect all this tapestry with 35 three drawing of Pierre and Dana Matisse collection as relating to Polynesia tapestry we found the textile testing and drawings made to Hasha we just saw finally we received from Mrs. Barbara Dutry the important gift or rare boin from the collection of Matisse that we are here that was the drawing we found in Pierre and Dana Matisse foundation it was really a surprise and we understand we were with George and Vanda in this time I remember and we were very excited by that it was a try for Polynesia and what is also very interesting it's to see with with the bird that we have the cover of jazz here so we understand also that for this trying of Polynesia Matisse have had a project to make two Polynesia and a carpet in the office of the president de la République in the Helizé but it never happened we can see the many beneficial aspect arising from this exhibition that has fascinated weverse still active active on the Harrier Matisse closer more affordable for local people including many textiles workers who do not usually come to our museum the link with the scissors and cutting is done naturally with the next exhibition Matisse cutting into color I stress the generosity of the Matisse family to the museum in 2012 we received the gift of more than 400 paper elements used by Matisse these elements were used by Matisse which finally has not incorporated them in his work this extraordinary collection which has never been presented before included elements that tells the evolution of paper cut out used for jazz through the Oceania until the very last one we could discover the original color used by Matisse somebody speak about this morning the degradation of paper cut out with this donation we can have the first color and it was very interesting to see the true color but mostly we discovered the phenomenon of work in progress how form a Matisse form how form a Matisse form will create another one that will provoke a new one with the pictures it will be more clear here you have a type of element we receive in the donation and you see it was a trying for Polynesia and finally Matisse don't include in the final composition we have also the true Oceania le ciel et Oceania la mer the true paper cut out and in the donation we receive a lot of this element we show like that because we always want to make people understand that it's not work it's not artwork it's element it's a material and it have not the statue of artwork but it's wonderful and you can find in all Oceania and for the true Oceania the different form you can find the floor you can find the border you have the bird very very interesting we have a lot of them only Matisse know why at this moment he don't use this bird he don't belong to the harmony as he said he have to be in the good music we discover with this donation a very interesting thing what I call the work in progress for Matisse when Matisse went in Taiti he saw a lot he make diving and he saw a lot of fish and different animals and when he make his paper cut out he have his main different type of fish and he make it in paper cut out like for example this form typically like fish we have in Taiti this form after he cut the wing cut and it become this form with the form we saw just before with four form we have this form so it's very interesting we saw that on that one it's 1, 2, 3 here we have 1, 2, 3, 4 and after this form he work again on this form and we find this type of form in the Shazub for example or you have that in the book of Verde and the form you see you find it in the stained glass of Poisson Chinois we have in our museum you have a lot of different color and you have also this relation between inside outside like a sculpture just have to find it was also very fine that met formatis there is several different type of paper cut out some are close to painting others are close to the sculptures others are made for textiles or stained glass I think that the contribution of this exhibition to the knowledge of the work of metis was very important in addition to a time when Tate and MoMA organized the so beautiful presentation we have for example this form it's come from the sword the sword in jazz you have the knife the sword and the man who hit the sword and it just come from that so it's a play, it's a game to find in it's work what you can find and also as I said we have the true color and you know how metis was exigent about the color used for his paper cut out for example we have the carton for vignes for the stained glass vignes in our museum and you can put in relation this different type of element I will speak now about another exhibition whose name is metis and engraving the other instrument pursuing this desire to discover the lesser no aspect of the work of metis with a contribution of unknown element this exhibition could be organized thanks to Barbara Dutry in memory of the generosity nearly 200 works summarizing the metis and engraving work from the first set portray from 19, until 1944 all type of techniques used by metis, lino cut, monotip, lithographie wood cup, dry pond and etching cigar, lift, aquatint were shown and most truly enraiched by the presentation for the first time of the matrix matrix on which metis work woodcut, lithostone, copper plate, lino cut work by metis also I want to show you the first one a tribute to Rembrandt we have Le Grand Bois we show the wood and the print and here is the type of plate, lino cut it's a view of the lithostone of the exhibition we explain because it's not easy to make an exhibition about we have to explain the different technique of engraving and we show the different batteries and the lithostone we have here two type of stone and we stay most truly enraiched also note that metis only allowed a very limited distribution of engraving works sometimes only one run like a very beautiful stone litho show here that one metis only print one example of of this lithostone discover also stripe prints with a change in the way of scrunching plate see we exhibit the print the plate with scratch here at this time and in the time we discover that the scratch become more and more little and as there is a type of respect for the batteries and we don't find at the hand a lot of scratch on the plate but just a little line to prove that the final work de Katia we are able to enrich the museum collection by purchasing a lithographie stone from the Murlot collection we represent the dancer acrobat it was that one the exhibition was very sexy and I think that as handable our public understanding of the importance of matisse engraving work and the freedom he has won for his research on the engraving technique the last exhibition I want to talk to you just handed matisse just handed matisse rhythm and meaning took place in Johannesburg it was the first matisse exhibition on the african continent she addressed two topics the relationship between matisse and africa and the idea of freedom this term being declined in several sense be on the enormous success of attendance and media the greatest satisfaction for me was the important pedagogic work implemented few view of the exhibition it was also interesting to see the stay life with african sculptures with the two iris and cocklico for example we transform abuse in an artistic practice studio like a workshop and we went to old school in the township of Soweto in some schools the children's has never used the color been pencil before the practice of paper cut out beside the joy of the children's also made it clear to teachers who absolutely not practice the art this had a beneficial effect for children's they could see that the calm that prevailed in the class for the class here in the class you have 64 pupils in the morning and the same after the lunch but it was also very important for teachers to discover that children was able to invent and do works that they had before suspected we have few pictures of school here and we make a lot of document and was very happy with the french ambassador ambassador to make a paper cut out it was a great pleasure for this children's we made understand now aromatis were an artist not only french but universal artist playing with civilization mixing history and transcending religion a beautiful message of tolerance brought even then France at this time to undergo horrific attack I say you that we have a wonderful successful communication around the exhibition such a in France also but the San Diego newspaper what about this exhibition and it was very funny to see how it was tell about the first matisse exhibition in Africa finally I want to introduce you to a project that will allow the matisse museum to go and continue to live the expansion provided in the covered market here this will give us the opportunity to redeploy collection show the sink we were pressing presenting not before to better accommodate children's and develop tourism and economic attractiveness of kato comrezy we have a project that will enable the museum create by matisse stay a living place a place of discovery a place of discovery a place of research but also a fun place for we for we must not forget the matisse message to the inhabitants of le kato at the opening of the museum in 1952 I quote my fellow citizen of le kato I left so fast to go where my destiny lets me wanted to honor my working life through the creation of this museum I realized that all the hard work of my life was for the human family which was to be re-relate a bit of the fresh beauty of the world through me I have therefore been a medium besides this exhibition activity to keep the museum and its collection as a living place it seems to be it must first preserve the spirit in which matisse created it I thank you and with you wait you soon in le kato