A monumental image of joy and energy, Dance is also strikingly daring. Matisse made the painting while preparing a decorative commission for the Moscow collector Sergei Shchukin, whose final version of the scene, Dance (II), was shown in Paris in 1910. Nearly identical in composition to this work, its simplifications of the human body were attacked as inept or willfully crude. Also noted was the work's radical visual flatness: the elimination of perspective and foreshortening that makes nearer and farther figures the same size, and the sky a plane of blue. This is true, as well, of the first version.
Here, the figure at the left moves purposefully; the strength of her body is emphasized by the sweeping unbroken contour from her rear foot up to her breast. The other dancers seem so light they nearly float. The woman at the far right is barely sketched in, her foot dissolving in runny paint as she reels backward. The arm of the dancer to her left literally stretches as it reaches toward the leader's hand, where momentum has broken the circle. The dancers' speed is barely contained by the edges of the canvas.
Dance (II) is more intense in color than this first version, and the dancers' bodies—there deep red—are more sinewy and energetic. In whatever canvas they appear, these are no ordinary dancers, but mythical creatures in a timeless landscape. Dance, Matisse once said, meant "life and rhythm."
Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 65