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The Dollar’s Final Deathblow [WSW Logo]( A note from the Editor: Wall Street Wizardry is dedicated to providing readers like you with unique opportunities. The message below from one of our business associates is one we believe you should take a serious look at. [devider] To start the project, Matisse looked back to an earlier painting he made in 1910, called The Dance II, a companion piece to The Dance I, made in 1909. The first dance painting represented one of Matisse's early turns towards a more simplistic approach to painting, using the basic elements of line, colour and form. Reacting to the introduction of photography, which could render details much more realistically than a painter could, The Dance I was an attempt to push painting to convey emotions through basic visuals rather than compete with a photograph's ability to depict exact reality. Matisse used diverse methods in subversive manners – Ai Weiwei Photographs, plans and preliminary sketches in the exhibition detail how Matisse worked through these challenges. To create the mural, he rented a garage large enough to work on the outsized canvases. Wanting movement in the piece, he looked back to his earlier work to move forward and decided to recreate a group of dancers from his seminal The Joy of Life (1906) as the basis for what would become The Dance II. He first made a small drawing and blew it up to fit the canvas, but the proportions were off, according to Carolan. He needed to figure out a way to sketch his drawing on a large canvas where it would be difficult to wipe it out or paint over it to make changes. Matisse then realised his normal tools of oil paints and brushes couldn't make his vision come to life, so he found new ones. He began by using a long bamboo pole attached to a pencil as an elongated drawing tool to sketch the dancers' shapes. Then, over the course of months, he tried cutting large pieces of pre-coloured paper and pinned them up, which helped to set the piece's proportions. For the first time, Matisse used scissors as an art tool, ushering in the age of his renowned cut-outs. He also began using a camera to document his process so he could compare changes from day to day. A study for the Dance II, at the Barnes Foundation, which required Matisse to overcome several challenges of scale, and proportion (Credit: Musée Matisse, Nice / H Matisse / ARS) A study for the Dance II, at the Barnes Foundation, which required Matisse to overcome several challenges of scale, and proportion (Credit: Musée Matisse, Nice / H Matisse / ARS) Matisse spent three years on The Dance II, and in the process marked a return to a modernist style, ultimately creating a dynamic composition depicting bodies that seem to jump across abstracted space of pink and blue fields. "He was able to transform his creative work through a certain kind of environment and tool," says Ai Weiwei. Most artists usually work in a reverse direction, he points out, and use familiar techniques on different subject matters. "Matisse used diverse methods in subversive manners," Ai adds, and in the process of trying to master these methods, an artistic language emerged that allowed the French master to enter a relatively free state of creativity. Matisse returned to still-life and model paintings aiming to evoke pure emotions, no longer beleaguered by negative reviews or fixations The last sections of the exhibition are revelatory, showcasing Matisse's new style, which distilled paintings down to pure line and bold colour. For example, in 1937's Yellow Odalisque, Matisse's mind was no longer confined to ideas of perspective and depicting an interior reality. Instead, the painting features a flattened composition with a black line-drawing within bright blocks of yellows, greys and reds. The bright, decorative Woman in Blue (1937) also reflects Matisse's new artistic language, focusing on a balance of serenity between bare lines and pattern movement. With a new studio assistant and model, Lydia Delectorskaya, Matisse was now invigorated and less interested in perspective than in how space interacted between objects and patterns. He returned to still-life and model paintings aiming to evoke pure emotions, no longer beleaguered by negative reviews or fixations. The colourful Woman in Blue (1937) reflects Matisse's new artistic language (Credit: Philadelphia Museum of Art / H Matisse / ARS) The colourful Woman in Blue (1937) reflects Matisse's new artistic language (Credit: Philadelphia Museum of Art / H Matisse / ARS) His shift from canvas painting to using pre-painted paper cutouts in The Dance II profoundly influenced generations of contemporary artists from Romare Bearden to Robert Motherwell and Pfaff. Ultimately, the exhibition proves Matisse lived up to his own famous words: "An artist should never be a prisoner of himself, prisoner of style, prisoner of reputation or prisoner of success." When Ai Weiwei was detained by Chinese authorities for nearly three months in 2011, he had no way to create art, he says. Instead, he challenged his mind to understand the people who imprisoned him and the system they worked under, he tells BBC Culture. "Imprisonment for me is a special training for a language, a new way to speak instead of what is commonly understood as a deprivation of freedom." Ai worked through the challenge to come out with a new strength and perception of how to be creative, going on to make some of his most engaging, culturally challenging work from 2012 onwards. "The kind of freedom I obtained there was something I could not have [developed] if I hadn't been imprisoned in the first place," he says. Like Ai Weiwei, by working through creating The Dance II, Matisse broke through the quarantine of his own mind to come out the other end with a revolutionary new style of creative expression. His new focus, strictly on simple lines and bold colours, represents a complete departure from realism, speaking to his and his viewers' emotions rather than just intellect. The invention of cut outs resulted from a profound creative process that went on to influence artists and enchant audiences into the next century. 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