12-page excerpt from LARGE RED INTERIOR, a full-length play about Henri Matisse, Lydia Delectorskaya, and Pablo Picasso. The play covers a period of 10 years and is divided into scenes with time markers.

by A. S. Maulucci
(Copyright 2011 by Anthony S. Maulucci)

SYNOPSIS:

Large Red Interior takes a close look at the psychological and emotional dimensions of the bond between artist and model. Specifically, the play is an exploration of the relationship between Henri Matisse and Lydia Delectorskaya, his model and assistant during the last 10 years of his life, when he was creating his paper cutouts and going through a crisis caused by the decline of his creative powers. His creativity is revived by Lydia’s inspiration as well as his rivalry with Pablo Picasso, Matisse’s polar opposite as an artist and a man. Matisse and Picasso met briefly in life but they never meet in the play; however, they are both very much on each other’s minds. They exchange paintings and exhibit their work together, and are a bit obsessed with the beautiful and mysterious Lydia, Matisse as a father-figure and Picasso as a possible lover. Lydia, however, remains faithful to her fiancé Aaron Kaufman, another Russian emigré, but both painters suspect that she has been the lover of the other, and this belief only intensifies their rivalry. Lydia is attracted by Picasso’s sexual magnetism,  and although Picasso tries various strategies to seduce her in order to triumph over Matisse she manages to resist him and conceals her feelings about him from Matisse. Lydia’s love for Matisse is strictly platonic, and that’s what she receives from him in return. She has been abused in the past while living in Russia and needs more than anything his old man’s kindness and gentleness. Nevertheless, Picasso’s allure is very powerful and she is strongly tempted to give in. But Lydia has been toughened by hardship and keeps Picasso at bay and his treatment of her a secret until the last scene of the play when she reveals the truth to Aaron, her fiancé, on the day of Matisse’s funeral.

TIME:
a ten-year period from 1944 to 1954

SETTINGS:
Southern France: Vence and Nice. Paris.

CHARACTERS:
Henri Matisse, from early 70’s till 80’s
Pablo Picasso,  in his early 60’s
Lydia Delectorskaya, Matisse’s assistant and model, late 20’s to late 30’s
Aaron Kaufman, Lydia’s fiance, early 30’s to early 40’s
2 extras who play Picasso and Death in a dream sequence and angels who come for     Matisse

SCENE  4 [On the terrace outside Matisse’s studio. June, 1944. The liberation of France has begun.]

[Lights up on Matisse, Lydia, and Aaron Kaufman, Lydia’s boyfriend. They are just finishing lunch at a table on the terrace in dappled shade of some plane, cypress, lemon and chestnut trees. The light is very bright outside of the shaded area which is enveloping them. Lydia is playing the part of the hostess; there is some tension in the air.

Lydia: More wine, Henri?

Matisse: I’ve had enough, thank you, more than my usual single glass.

Lydia: Doctor’s orders.

Matisse: [trying to be sociable] Perhaps Aaron would like some brandy?

Aaron: Just another glass of wine, if you don’t mind.

Matisse: Not in the least. Please consider yourself at home. [slight pause]

Lydia: Do you want me to turn on the radio, Henri, so you can hear the latest news about the invasion?

Matisse: I’d rather wait until this evening or tomorrow. It may be several days before the battle is decided one way or the other. No point in getting distraught over it until we have some definite information.

Aaron: I believe the Americans will be victorious.

Matisse: And why do you have so much confidence in the Americans?

Aaron: I have had information from friends of mine who are in the Resistance. There will be no stopping the Yanks once they have conquered Normandy.

Matisse: Only young men can be so sure of themselves.

Aaron: It takes confidence to win a war, and the Americans are all very confident young men of around my age.

Matisse: This is a very delicate question, but I must ask you –

Aaron: Why I am not in uniform?

Matisse: Yes.

Aaron: I am a pacifist. War solves nothing. It is tragic and insane. And it is only delusional propaganda that sends men to war. I do not believe killing can be justified, even in self defense.

Matisse: Would you have France lie down and allow the Huns to march right over us?

Aaron: Have you heard of the Hindu philosophy of passive non-resistance?

Matisse: I believe I have. Do you think it would work in this situation?

Aaron: I don’t know, but it may have been worth trying at the beginning. But it is too late now.

Matisse: What an extraordinary idea! Passive non-resistance. Only a Hindu or a Jew could believe that such an idealistic notion would work. [slight pause] Which are you, a Hindu or a Jew?

Aaron: I believe I am both, if such a thing is possible. And I think it is. I have undertaken a very profound study of the Hindu religion and I hope I can synthesize Hinduism and Judaism into a single philosophy.

Matisse: How extraordinary! But I must ask you, if you were attacked personally, or if Lydia were attacked, would you not defend yourself, would you not fight back?

Aaron: I would turn the other cheek, as you Christians have been taught to do but do not practice.

Matisse: I am not a Christian, though I was raised as one. And that is one of the great hypocrisies of modern Christianity. If Christ returned, I would believe in him, and if I were not an artist I might even become one of his followers. But to belong to a church and go to mass with a lot of hypocrites, never!

Aaron: Yes, most churchgoers are hypocrites, and the same can be said for most Jews who go to synagogue. But as my former rabbi said, “Yes, they are hypocrites, but there is always room for one more.”

[They laugh.

Matisse: [not wanting to leave the subject just yet] But if Lydia were attacked.

Aaron: Lydia is quite capable of taking care of herself, aren’t you, [uses Russian term of endearment]

Lydia: [striking a pose] I once fought off a gang of Cossacks who were invading our village in Siberia.

[Laughter all around.

Lydia: Please let us change the subject.

Aaron: And what shall we talk about on this lovely afternoon?

Lydia: Nothing serious. How about art?

Aaron: That is the most serious subject of all!

Lydia: Why don’t you ask Henri what you have been wanting to ask him?

Aaron: [turning to Matisse] I am writing an article about art and artists and I would like to know where you stand on the issues of greatest interest to the new generation. Where does your inspiration come from?

Matisse: [with a glance at Lydia] From color.

Aaron: [after a slight pause] Please elaborate.

Matisse: I didn’t realize this visit was going to include an interview.

Lydia: [annoyed] You didn’t tell me you were writing an article, Aaron.

Aaron: Didn’t I? Please forgive me for that oversight.

Lydia: I am sorry, Henri. I know how much you hate giving interviews. This was to be a friendly social visit, or so I thought.

Matisse: It’s okay, Lydia. [turning to Aaron as Lydia rises and begins clearing away the plates] You have read what the critics say about Picasso and me, that I am color and he is form?

Aaron: Yes, I have heard something like that.

Matisse: Well, it is true, up to a point.

Aaron: What do you mean exactly?

Matisse: Picasso and I are opposites in our approaches, perhaps, but in the 1920’s and 30’s we produced work that was very similar. Why? Because there was something contagious in the air. With Cubism and Fauvism we were expressing the spirit of the age, each in our own fashion.

Aaron: And how would you describe the spirit of that time?

Matisse: Both confused and self-satisfied. I know that sounds like a contradiction, but it was that way. We were searching for a new world, and for me that new world was here in the light of the south. I wanted to realize my dream of luxe, calme et volupté.

Aaron: And have you?

Matisse: I believe I have, not completely. but to a great extent. [slight pause] I would like to correct a statement I once made, one that has been terribly distorted and exaggerated . . .

Aaron: Which one is that?

Matisse: The one about wanting my art to be like a fauteuil, a comfortable arm chair. I did not mean what many critics have interpreted it to mean, that art should be comforting. I specifically meant that art should offer the viewer a beautiful place to rest, a respite from the strife and confusion of his daily life.

Aaron: Should it not uplift him as well?

Matisse: That is the traditional view. Does Picasso’s art uplift? Perhaps some of it, but mostly it attacks the viewer by tearing away the surface reality and replacing it with a deeper truth, a more complex vision. My art presents the vision without attacking the viewer’s sensibilities.

Aaron: I’m not sure I understand . . .

Matisse: I’m not sure I do either. Explaining art is a very difficult business. Renoir said that if you could explain a work of art then it wouldn’t be art. He believed that art is indescribable and that it must be inimitable. Degas said that a painting must have mystery. And mysteries cannot or should not be explained.

Aaron: Do you agree with them?

Matisse: Yes, in essence they are correct.

Aaron: And what about your depiction of women?

Matisse: Yes, women. My second great inspiration after color. Women were central to that dream, and they occupy a sacred place in my work.

Aaron: Would you agree that Picasso makes women ugly and that you make them beautiful? Or is that an oversimplification?

Matisse: Ugly or not, Picasso’s women tend to be monumental figures. But he got that idea from me, from my sculptures of the heads of women. In monumental figures you can see a cathedral. And there are monumental figures in what I call the architecture of the dance.

Aaron: Someone has described you as a charmer who loves to charm monsters. What does that mean?

Matisse: I have no idea.

Aaron: Are your models monsters?

Matisse: Far from it. They are not always perfectly formed but they are always expressive in some way. Their interest for me is not simply in the beauty of their figures. I am not inspired to represent their bodies in some realistic way but I wish to distribute the special lines or values in order to create an architecture or an orchestration for the painting or drawing. Do you know my painting, The Pink Nude?

Aaron: One of the early paintings you did of Lydia?

Matisse: Yes. There were some twenty-four stages in the development of that particular work. We took photos of the painting’s progression, and you can see how Lydia’s form began to change. It grew larger and larger and became more . . .

Aaron: Monumental?

Matisse: Precisely, more monumental. It is like the story that Diderot tells in his “Essay on Painting” about the artist who would get down on his knees before taking up his brush and pray to God to deliver him from the model.

[Lydia has re-entered.

Lydia: Are we such monsters as that?

[Laughter all around.

Lydia: May I interrupt this highly elevated discussion to ask if I should make the coffee now?

Matisse: Yes, please make the coffee now. I think we are just about finished.

[Lydia exits.

Aaron: One more question, if you don’t mind. You asked me what I would do if Lydia were attacked. . . . Now I will ask you the same question.

[Matisse stares quizzically at Aaron, awaiting an explanation.

Aaron: I don’t mean attacked physically, of course. I mean what if she were attacked in the press as your paramour, your lover, the cause of your divorce from Amelie, your wife. What would you say to that? Would you defend her honor?

Matisse: I don’t think that is an appropriate question, young man. You are digging too deep into my private life . . .

Aaron: I am sorry. I know you think me a pushy Jew, an obnoxious member of an obnoxious race.

Matisse: I think nothing of the kind. [pause] But I’ll tell you what I do think . . . I think your generation is on the whole a very headstrong one. You spoke of having confidence, well I believe your parents have raised all of  you to be over confident, full of yourselves, and in possession of the most selfish, egotistical brand of self importance I have ever seen.

Aaron: And a man like Picasso, is he not an egotistical bully?

Matisse: You must leave him out of this discussion. He is an exceptionally great artist, a genius.

Aaron: And does being a genius excuse his egotism?

Matisse. Yes, it does. And it is the cause of his egotism. Exceptions must be made for men of his caliber.

Aaron: And is it not possible that Hitler may think the same way about his own actions?

Matisse: Perhaps, but let’s put this into a moral context. Hitler is a destroyer, not a creator.

Aaron: He believes he is creating a new race of supermen.

Matisse: So I’ve heard, but he is a madman.

Aaron: Isn’t madness just another –

Matisse: [cutting him off] I’ve had enough of this discussion.

[Cold silence.

[Lydia enters with the coffee. She looks anxiously at Matisse and gives Aaron a scowl.

Lydia: [placing the tray down on the table] Well, it’s nice to see the two of you getting along so well.

[Matisse grumbles. Aaron lights a cigarette.

[Lights out.

SCENE 5 [Matisse’s studio. July 1944]

[Matisse and Lydia at work. Lydia is posing in the nude facing upstage on a sofa as Matisse paints in his wheelchair.

Matisse: How serious are you about your young man?

Lydia: Very serious. Why? Don’t you like him?

Matisse: He seems nice enough. Has he asked you to marry him yet?

Lydia: No, but I’m in no hurry. You sound like my father.

Matisse: What’s wrong with that?

Lydia: Well, that’s a change of attitude . . . Nothing I guess. But my father only saw me like this when I was a baby.

Matisse: I think that will be all for today. I’m a bit tired.

[Lydia covers herself with the shawl that is draped over the sofa. She crosses upstage and looks at the painting in progress.

Lydia: The way you see me is beginning to change.

Matisse: Really? In what way?

Lydia: I’m not sure. But there’s something different. I can’t put my finger on it, but there’s a difference. Something new.

Matisse: Well, there must be some new quality in you then.

Lydia: Perhaps . . . Imagine that, after all these years you’re still discovering new things in me.

Matisse: Maybe it’s your love for that young man . . . ?

Lydia: [ignoring the question] You’ve made me rounder. Riper.

Matisse: Are you pregnant?

Lydia: No, I don’t think so. Just riper.

Matisse: Like a pomegranate about to burst open . . . ?

Lydia: I certainly hope not. I’m much too private a person for that.

Matisse: But not too shy to have your portraits exhibited next month . . . ?

Lydia: There’s a difference . . . They’re not really me. They’re of a woman I don’t really know . . . a woman transformed by Matisse.

Matisse: Precisely. You’ve been Matissified.

[They laugh.

Lydia: Yes, you could call it that. In any case I’d rather be Matissified than Picasso-ed.

Matisse: A wise choice, my dear. [pause] Would you consider posing for him?

Lydia: No, I wouldn’t.

Matisse: How can you be sure?

Lydia: Because he has already asked me and I said no.

Matisse: [with raised eyebrows] Is that so? And when did this happen?

Lydia: While you were in the hospital in Lyon.

Matisse: You mean he came here to Vence?

Lydia: No, it wasn’t like that. His secretary sent me a letter. You painters are so possessive! What if I did pose for him? Would it be the end of the world?

Matisse: I thought you understood about Picasso and me. No, it wouldn’t be the end of the world, but it would be a . . .

Lydia: [finishing his thought] A betrayal?

Matisse: Yes, it would be a betrayal. [pause] Lydia, you must do as you please. But remember I am not a saint. I have my faults. I have my demands, and one of them is loyalty. I discovered you . . .

Lydia: I came to you remember.

Matisse: Yes, okay, look at it that way. You came to me. You were bestowed upon me by some higher power. The god of art, if you will. In any case you are my muse, and I do not wish to share you. Not under any circumstances. And especially not with him.

Lydia: Sometimes you make me feel like an object, Henri, something to be kept in a closet until you need me.

Matisse: [with deep sadness] I am sorry you feel that way. You are absolutely not an object to me. You should know that. You are more like a goddess who in fact has complete power over me. You rule me. I am your slave, and I submit to you because of my art. Does that sound foolish? Well maybe it is. But it’s the truth.

Lydia: I don’t know about that. [after a slight pause] Do I detect a note of humility?

Matisse: I will confess something to you . . . I sometimes wonder if I could have recovered without you.

Lydia: Recovered from your surgery?

Matisse: No, from something much more serious. My creative desert. The critics said I was finished. Picasso said it too, I know he did, and wouldn’t he have enjoyed knowing it was all over for me. He is not only vicious, he is the most competitive man I have ever met. Yes, he would have gloated over it like a demon in hell. Like Lucifer himself when he has destroyed another soul. It is my destruction, my artistic annihilation that Picasso wants.

Lydia: I think you’re exaggerating, Henri.

Matisse: Oh, am I? You have no idea what he’s really like. I saw it. The day I told you about, when I had a drink with him and he invited me to a brothel.

Lydia: What did you see?

Matisse: I saw what’s behind the mask, what’s behind all the public posturing.

Lydia: And just how were you able to see the face behind the mask?

Matisse: I can’t explain it to you. Call it intuition. Artists have it too, not only women. I saw into his soul, and it is frightening.

Lydia: It can be frightening to look into anyone’s soul.

Matisse: Yes, I suppose you’re right. I guess my soul would not make a very pretty picture either.

Lydia: Then where do all you’re beautiful pictures come from, if not from your soul?

Matisse: From you, my dear. From you, and my soul in collaboration.

[Lydia has put on her clothes.

Lydia: I am not so good as you think I am . . .

Matisse: Oh? How do you mean?

Lydia: I have been tempted . . .

Matisse: And who hasn’t?

Lydia: Tempted by a devil . . . and I almost gave in.

Matisse: Would you care to elaborate?

Lydia: No, not really. But I have a secret, and if you knew it you might not like me as much as you do.

Matisse: I think I know what it is, and I like you as much anyway.

Lydia: I just don’t want you to go on thinking that I am some kind of pure angelic being when in truth I am far from it.

Matisse: Of course, my dear. No one is perfect. And I don’t think of you in quite that way. I know you are a basically a good person, but you are flawed like all people. [pause] Does that relieve your mind? Please don’t be anxious over this. I take you as you are. [Looking closely at her] Ah, I can see that pleases you. [pause] I want to tell you something. I read recently about a middle-aged Indian warrior chief who saw the Great Spirit in a dream. The spirit told him that from then on he had to sit among the women and children, had to wear women’s clothes and eat their food. He obeyed, and he was still able to hold onto his status as a chief.

Lydia: How interesting. But what does it mean?

Matisse: It means that middle aged men and those older, like me, start turning into their opposite. And that’s okay.

Lydia: [smiling] How about that. [pause] Shall I make your lunch now?

Matisse: Yes, please.

Lydia: And will you have some wine?

Matisse: Not today. We must go out this afternoon to talk to the pastor about the decorations for the chapel.

Lydia: Yes, I had forgotten about that. Do you have some sketches ready?

Matisse: Not yet. I want to take another look at the space. The architecture of the interior is only vague in my mind. I want to have a clear picture of the walls and the windows, just to be sure of the dynamics.

Lydia: Then I should take the camera.

Matisse: Yes, we need to have some photos for reference. Please make sure you have film this time.

Lydia: [smiling] Yes, it does help to have film in the camera when you are taking pictures.

Matisse: Just a little.

Lydia: Will you never stop teasing me about that?

Matisse: Never. I hope you don’t mind.

Lydia: I’ll mind until I can find something to tease you about.

Matisse: There must be hundreds of things, all my shameful peccadilloes.

Lydia: Yes, there are, but I’m much too polite to mention them.

Matisse: You are a credit to your parents.

Lydia: They taught me to be a good girl . . . and a good cook.

[Lydia exits into the kitchen. Blackout.