PRESS FOR MATISSE IN THE STUDIO
Museum of Fine Arts, Boston
Royal Academy, London
, April 9-July 9, 2017
, August 5-November 12, 2017
Karen Wilkin, “Matisse in Montclair & Boston,” The New Criterion, July-August 2017
Malcolm Gay, "MFA Pairs Matisse's Art with Objects of His Affection" Boston Globe, Mar. 30, 2017
“‘The social context of how [Matisse] is borrowing these ideas is critical’ to the exhibition…[McBreen] added, ‘because those ideas are part of why and how he borrows.’”
Susan Delson, “Matisse’s Mundane Magic,” The Wall Street Journal, March 25-26, 2017
“Matisse in the Studio examines how objects in Matisse’s home and studio informed—and often ended up in—his art.”
Tyler Green, "Modern Art Notes Podcast,"
April 27., 2017
“[O]ne of the more curious revelations of the show is that some of his objects were purchased not as sources for his art, but after the fact, ‘because they reminded him of ideas he’d already explored artistically,’ McBreen says. ”
Meredith Mendelsohn, “Did you Know Matisse Had a Passion...?” Architectural Digest,
March 29, 2017
“Our exhibition is exciting because it allows you to almost step inside the space of the studio and see some of the actual materials that Matisse was looking at and he was inspired by,” said Ellen McBreen, associate professor of art history at Wheaton College and Matisse scholar.”
Debbie Hagen, “The Eclectic Objects that Inspired Matisse’s Art,” Hyperallergic,
May 25, 2017
“What do we do with the fact that much of European art was based on an interrogation of objects whose makers were invisible?”
“The exhibition’s paintings, sculptures, and drawings of the figure all attest to Matisse’s refutation of classical ideals in favor of more unexpected, perhaps African-inspired conceptions of the human form.”
“Ellen M. McBreen ’92, one of the exhibit’s co-curators, used one of Matisse’s myriad sources of inspiration—an African sculpture—as a framework through which to explain the impact such influence had on European art.”
Mila Gauvin, ‘Matisse in the Studio’: A Thorough Look at an Artist’s Work Space, The Harvard Crimson, April 12, 2017
PRESS FOR MATISSE'S SCULPTURE
Yale University Press, 2014
In this close analysis of [Matisse's] manipulations of cultural markers, the strongest aspect of the book focuses on those having to do with "sexual difference. [T]he fascination African art had was not simply a general fascination for the Other but for its representations of another kind of sexuality. Instead of an indexical marker, in African sculpture sexuality was seen as a dynamic concept. With this in mind, McBreen proposes an erotic reasing of Matissean sculptural practice."
Claudine Grammont, Les Cahiers du Musée National d'Art Moderne (Paris), Vol. 132 (Summer 201
“For once you think the art historian is not making things up but giving you the goods.”
Craig Raine, "Books of the Year," New Statesman
Nov., 18 2014
“Ellen McBreen’s Matisse’s Sculpture is probably the most important book on the subject.”
Brian Sewell, "Why The Best Art Books Make The Most of Words and Pictures" The Evening Standard,
Dec. 18, 2014
“[McBreen] finds crucial clues to the development of Matisse's abstraction.”
World of Interiors
"McBreen examines Matisse's engagement with erotic photography and African sculpture early in his career."
Alexander Adams, "Multifaceted Matisse"
The Art Newspaper
"Alongside her research, Matisse's Sculpture features 150 illustrations - an element McBreen felt was important."
"New Book Highlights Lesser Known Period of French Artist's Work
"This book promises to recalibrate how we consider the relationship between primitivism and early abstraction."
"Off the Shelf," Apollo Magazine