 Je suis très heureuse d'être ici et j'ai trouvé la fondation des bandes pour l'invitation, et surtout, Elyia pour l'organisation, et Amanda et Barbara pour l'enquête. Je veux commencer avec les situations de Picasso. Picasso dit de la discovery de l'art africain par Matisse. Nous tous aimons les fétiches, mais pour Matisse, les masques sont juste comme d'autres types de sculptures. Quand Matisse m'a montré sa première égoïde, elle m'a dit de l'art africain. Dans la description de Picasso, j'ai aimé le fétichisme de Matisse. Matisse a vu des objets, des works de l'art, et pas des idées. Matisse ne cherchait pas de l'armée de Lucca, ou de la paix de la paix de la collection. Il lui a dit qu'il était surpris en rencontrant de nouveaux objets et de nouveaux acquisitions par les techniques et les matériaux des objets de l'art africain. En plus, Matisse n'a pas représenté cette culture comme Dieu, dans la painting intitulée « Still Life with African Statue ». La culture curieuse, un petit cité-mère, qui présente ses idées, appartient à d'autres objets européens, près de la centre de la painting. En tant que German expressionniste, Kirchner or Nolder, Matisse n'était pas intéressé par l'aspect tribal, l'atmosphère de l'art et de la magie, que les statuels se convaincent dans l'an 20e siècle. Dans cette painting intitulée, les works africains de l'art ont regardé ses formes et les volumes qui contrastent avec l'art de l'antiquité grecque. La statue était une de les premières cultures que Matisse a porté, probablement comme la copie de la Cuba-Cup. Il l'a envoyé à Picasso, qui a spent la nuit, en dessous de la statue. Mais ce n'était pas le premier encounter avec les cultures négociées. Durin a déjà été à London en mars 1906 et a donné des lettres à Matisse avec les dessous de cultures océaniques après sa visite au Musée du Brésil. Durin a réconnu l'intérêt de Matisse pour les cultures non-ouestoneses. Matisse a dit, « J'ai travaillé toute ma vie devant les mêmes objets, qui m'ont donné une force de réalité par commettir ma pensée sur tout ce que ces objets ont fait pour moi et avec moi. Ce palette d'objets participe dans son processus créatif. Les artistes constamment refusent aux objets face à lui tous les jours. C'est Saragon qui compte l'expression qui caractérise le répertoire que Matisse a exploré dans son travail comme un vocabulaire de science. Ce n'est pas comme le palette du poète de Wards. Accordingly, ce truc n'est pas limité à la découverte de notre art négral sur la partie de Matisse et de l'Ouest avant-garde plus généralement. C'est, bien sûr, toujours possible d'établir une chronologie encore précise et de donner plus de détails informations sur les objets qui provoquent l'invention de cette nouvelle catégorie. C'est l'art primitaire. Mais le sujet a pratiquement été exhaustifement discuté par Lodre, Potra, Dajon, Flamme, et Labrus. Nor am I concerned with demonstrating the kinship, the analogies and formal affinities between tribal and modern art, which made women's 1984 exhibition at the moment such a success. This exhibition called Communitivism in 20th Century Art, Affinity of the Tribal and the Modern, was a late and much-critizied attempt in making sense of the affinities between primitive and 20th Century Art. Appropriation, colonialism and traditions where these artifacts come from were not enough discussed. Instead, I seek to bring to light the original relationship Matisse established with non-western arts and ways in which he regarded these objects not as fetishes but as works of art. The objects Matisse liked to be surrounded with were not just a palette that is to say an outside source from which he simply drew new forms and colors to duplicate on papers. They were an integral part of his creative work. At every stage of the execution of his works it was posed and rearranged their motifs. Having experienced on a daily basis the aura of his works exhibited close to the fireplace and on the walls of his studios or placed in showcases the artist integrated them into the setting of these sketches on purpose or unaware. Some years later he will take up these first sketches and repeatedly rework them until in contact with the objects and after several tries he wished what for a time will be a final work. It is the odyssey of these forms from objects to works that is to be narrated here. My aim is to get as close as possible to Matisse's creative impulse and to the slow transformation of objects into signs. To do so, first it's necessary to give a sense to the variety and richness of his palette of objects pointing out some less known aspects of how Matisse constituted his collection then just like Matisse to appreciate these objects as works and to show in a global art historical approach how they pervade and participate in the artist's creative work. From his sketches to his paintings, sculpture, stand-gas windows and paper cutouts. And finally to characterize the kinds of artistic appropriation at work here. Lone, transposition, syncretism. Among all the objects that constituted Matisse's working library, a number of African and Oceania works of art stand out. Mostly they came from the colonies from French West Africa, the Belgian Congo and French Polynesia. It seems inappropriate to call this palette imported from abroad exotic. Given that these objects formed part of his familiar surroundings and that it looked at them the same way he did at other objects of European provenance. Furthermore, Matisse seldom spoke of Arnec or even primitive art. This expression was commonly used in only 20th century to denote among others objects brought back from the colonies. It is from Africa, Oceania or sometimes the Americas. But it's impossible to employ these terms today marked at the heart by the racism and Darwinism of the colonial age. What is most striking about Matisse's Oceania and African art objects is the richness of their ornamentation and materials. The variety of artistic techniques and geographic origin, the ways their volumes are put together and the force of the expression. Those coming from the former Belgian Congo outnumber the Oceania pieces. And the fabrics, by far, outshine the wooden statues and masks. Pieri, Malongan and Leti are funeral effigies respectively from what is now Gabon, New Island and Indonesia. Matisse's interest in the Oceania sculpture can be explained by the attraction on the expressionists and surrealists and the passion for the African sculptures is shared by his own collectors and his former focused companions like Doran and Vlamank. As his acquisition of some copies and cast shows he cared little about the authenticity or vintage of the objects. What counted for him as an artist rather than a collector was to preserve the memory of the forms and the colors. As a student Sarah Stein wrote in 1908 Matisse used these African statues when teaching in the Matisse academy and he compared them with European works of art. Matisse said you may consider this negro model as a cathedral. His collection looks like that of an artist at the time such as Picasso, Prach, Vlamank, Doran but it also includes numerous Oceania tapas fabrics and embroidered trafic from the Democratic Republic of Congo. These fabrics reveal the taste Matisse had for painted and ruined ornaments. Unlike many of his contemporaries who preferred sculptures Matisse was also fascinated with two dimensional works. This pictorial sophistication of Kubat textiles is characterized by geometries divided with diagonal and intersecting lines describing zigzags, triangles, chevrons and lozanges. Fractal symmetry is expressed between scales. That is to say between different sizes of similar forms. The Shubha Kuba is explained by the working fashion and time in tape in producing a panel of cut yarn embroidery. It's a result of a process that involves the different hands and creativity of several women collaborating on a single textile. These oceanic back-closes were used as prestigious gifts too. Many of the back-close designs refer to the natural surroundings and include motifs which represent starfish, shells, whitefoot leaves, centipedes and other plants and animals. Matisse obtained this work of art from the major traders and collector of Arnais of the time like Éman, Diome and Peurop's Boomer who studied at the Academy Matisse. In 1914, Matisse also frequented the collector level who assembled an important collection of embroidered wafia around 1918. Following this example, Matisse probably in the mid-twenties bought embroideries from the Belgian Congo. Those of these two of these fabrics served as illustrations for two articles written on l'armée for the gaillet d'armes. In 1936, servos acted as a go-between for Matisse's porches of the Malagan from Elua and Matisse may have bought other sculptures coming from the surrealists. At that time, there certainly existed clothes ties with the auctione and art dealer Raton whose loans were an important contribution to the African LEGO art exhibition organized by Bar and Sweeney at the MoMA in 1935. This exhibit featured the two fabrics from the Congo whose photographs had appeared in the gaillet d'armes. In New York, Pierre Matisse sought to promote modern as well as African art. It was probably on his advice that Matisse became the owner of the bonbon mask that Vlamin could put up for self under that name at the Hotel Douo in July 1937 and that Matisse may have acquired later. Combination of blue and white pearls, of white coweys and bone seeds, pieces of copper and of glass, the alliance of painting and sculpture and for the textile, the random antisymmetrical repetition of geometric motifs, the simplification of forms, the contrast of volumes. These objects could not but astonish Matisse and awaken his artistic senses. The value of these objects for him lay essentially in their aesthetic qualities. We can say that Matisse was strongly influenced and at strongly influenced his own collectors and friends like Vignée, Ostaos Chium and of course Barnes. In the 20s it had become an accepted practice among modern art exhibitions to mix modern and African or oceanic art. In the era when such works were typically presented as cultural artefacts in the Snowwafik museums. This institutional reclassification a selected its Snowwafik objects as art objects were established by the MoMA or the Barnes Foundation in the 30s. In short, Matisse sought out new pieces at the most important dealership and like his own collectors and some gallerists contributed to the appreciation of art produced in societies under colonial rules. Like his palette, Matisse brought his African and oceanic works of art with him every time removed. Although not all were given the same status in his studios. There were in this possible accessories of his artistic creations. The fabrics from the Congo took pride of place decorating all of his apartments. They thus occupied the walls in these where the baga figures from Guinea and the seated Bamanas culture from Mali were displayed on the Mandolpis. At La Villaleurève the Anque in Matisse's bedroom framing the large oceanic tapas he had also owned since the 20s. The two wafias were produced by service in the Cayedda were placed side by side with his works like paintings revealing once again the particular interest Matisse accorded them. In this game of mirrors the artist set up the objects were reflected in the painting and the geometric motifs of the velvet from the Congo entartent into correspondence with those of the models embroidered blouses. This photograph makes explicit that the wall this palette of objects played in Matisse's work were that of a vocabulary or rebertory of forms. It's a mise on a beam of the artist's creative process. With the artist in broad strokes sketching on paper while an asiaton finished work rest on the easel. The funerary effigies from New Island too are the special status. It's best for the statue that the artist as himself photographed around 1938 along with his painting Fennet at 80. Reminding us that this statue pervades this period of creation that began in Paris and was marked by recollection of the trip to Polynesia. After the war it remained in the studio in Montparnasse in a corner of the living room close to the window not far from significant works from different creative periods notably paper cutouts painted in gouache for the stained glass window of la villa Natasha. Even the objects that had apparently been abandoned with a certain negligence in his studios were part of Matisse's working library. The multiple diamonds of the large wooden panel from the Congo placed on diamonds in the fireplace resonate with the cutout silhouettes of la piscine pinned to the walls of la région. His portraits suddenly recall everything they owed to African art when we compare them to the sculpted mask over the lintel of the door. In work cases the object itself became a palette like this African stool on which the artist placed his tubes of paint and whose seat with sculpted ornaments still bears the traces of the execution of Nymphne en la forêt. Through these African and Tocéanian works of art scattered across his studios Matisse was looking for new cannons and new artistic forms beyond the European field studying the relationships entered into his surrounding space and with his own works. As early as 1907 Apollina pointed out that the artist had developed his talent by being in contact with different artistic traditions and particularly the statuette of African Negros proportioned according to the patient that inspired them. Thanks to this global vision of art and his taste for the decorative art Matisse kept up a perpetual dialogue between the objects present in his studios and the works on which he was working. The artistic transfers between the non-western arts and Matisse's works thus manifest themselves in his creative processes on the formal as well on the conceptual level. At first, the appropriation of his new artistic forms is a reprise of their motifs. Their presence in the studio explains the fact that they appear in the sittings of several office paintings. The Congo embroideries are represented in the 1947 Nature Mort au Grenade framing the window such as the artist could see it at la Villa L'oreve. They occupy the background of La Famolute of 1943 a painting that served as a model for tapestry in 1949. The artists had already valued the geometrical shapes on the floor and the wall of Tabar Royal in 1935. Similarly, the artist reproduced the motifs and the composition of his Egyptian textile infinite at 80. These figures of non-western art don't so much imitate as they are suggested by science. The non-western textiles create space and relief although they are two-dimensional and because they will produce similar forms on different scales. Yet these analyses were part of the artist's reflections on luminosity on how to represent its sensation and how to figure depths and volumes in flat spaces. Moreover, Matisse's process of making paper cutouts reflects the process of sewing textiles be it the Polynesian Tifa Fai or the North Egyptian textiles. These techniques may be described as drawing with scissors. From the works Matisse went back to the objects. Disappointed by the execution of a tapestry based on the oil and canvas papéter of 1935. For example, he picked up on motifs of his 1929 lithograph to use in his painting Taiti of Phenetra Taiti II. As early as 1929 his lithograph Figures devant Tapa africains pointe to the importance attributed to these decorated ornaments regardless of whether they came from the Congo Rafias or the Polynesian Tapa. He spoke about African Tapa. When trying to get out of an impasse the artist willingly turned to old sketches and to his familiar objects. Here as non-western textile he then had hanging in his bedroom. And the confrontation with this non-western textile brought back the past in the present and awoke the Taiti memories. Nonetheless he was still dissatisfied. He concluded that the large solid spaces of intense strongly contrasting colors suited stained glass better better than the deep tapestry. And he refused to have a tapestry made of his second version of Taiti. So the lessons from the non-western textiles are transposed in the stained glass techniques. Beyond the formal borrowing Matisse learned a lot of a lot from non-western arts. So one new lessons about the repetition of motifs the simplification of forms the combination of volumes and materials lessons he fully implemented in practice in his compositions of gouache painting paper in the 40s or in those of lapisine. To conclude it's a palette of objects as Elena don't photograph it at the Monde of Aragon appears to be quite incomplete. It's but an indication of the wall objects plate for the artist in his creative searches. Among them the sculptures painting on bark and embroidered wafias that had come from Africa and Oceania accompanied him in the studios throughout his life. And his works still bear the trace of the artistic appropriations. Far from limiting himself to a mere copying the odyssey of their forms manifests multiple transpositions and transformations operating in matrices creative process. Sometimes leading to a complete dissolution from these motifs in the space of the painting or the effacement. At the source of artistic representation the objects laid out in his studio as a constitutive source and a stage in the creative process the artist compare them with his own works and created pair in order to ultimately reject the frame of the painting. Like the Egyptian artist or Thai Asian artist who cut his figures or assemble panels of bark he placed his guaches not on canvas but directly on the wall. He used different scales for similar figures like the Cuba artist of the Congo. Not satisfied with a simple search for ornaments and not interested in the magical aspects Matisse had in fact interrogated these objects as works of art with techniques, construction and luminosity needed to be analyzed in order to apply the principle to large decorations on the walls. Non-western art helped him to contest the European Militic representation and to affirm his architectural decorating aesthetic. Matisse had found in his African and Oceania art object as Savos put it in 1927 everything able to enlarge the domain of painting. Thanks for your attention.