Henri Matisse Indoors and Still-life Paintings
In my Still Life with Magnolia, I painted a green marble table red; in another place I had to use black to suggest the reflection of the sun on the sea; all these transpositions were not in the least matters of chance or whim, but were the result of a series of investigations, following which these colours seemed to me to be necessary, because of their relation to the rest of the composition, in order to give the impression I wanted. Colours and lines are forces, and the secret of creation lies in the play and balance of those forces.
In the chapel at Vence, which is the outcome of earlier researches of mine, I have tried to achieve that balance of forces; the blues, greens and yellows of the windows compose a light within the chapel, which is not strictly any of the colours used, but is the living product of their mutual blending; this light made up of colours is intended to play upon the white and black-stencilled surface of the wall facing the windows, on which the lines are purposely set wide apart.
The contrast allows me to give the light its maximum vitalising value, to make it the essential element, colouring, warming and animating the whole structure, to which it is desired to give an impression of boundless space despite its small dimensions. Throughout the chapel every line and every detail contributes to that impression.