Classic and Contemporary Poetry: Explained

Alicia Suskin Ostriker’s poem "Matisse Too" delves into the resilience, creativity, and defiance of great artists as they confront the physical limitations and challenges of aging. Through references to Henri Matisse, Claude Monet, and Pablo Picasso, Ostriker explores how these iconic figures continued to create art despite significant obstacles, transforming their limitations into bold expressions of beauty, anger, and self-discovery. The poem serves as a reflection on the enduring power of creativity and the refusal to surrender to the constraints imposed by time and the body.

The poem begins with a reference to Matisse, who, "when the fingers ceased to work," adapted his artistic practice to accommodate his physical limitations. Rather than being defeated by his inability to paint with the precision he once had, Matisse "worked larger and bolder," embracing a new style that celebrated "the weddings of innocence and glory." This phrase captures the essence of Matisse’s later works, which are characterized by their vibrant primary colors and simplified, joyful forms. The repetition of "innocence and glory" emphasizes the purity and grandeur of Matisse’s vision, suggesting that his art transcended the physical difficulties he faced, allowing him to express a profound and unfiltered sense of beauty.

Ostriker then shifts to Monet, who experienced a period of blindness due to cataracts. During this time, Monet "painted swirls of rage," a powerful image that conveys the frustration and anger that often accompany the loss of sight and, by extension, the loss of control over one’s creative abilities. However, Monet’s story does not end in darkness. When his sight recovered, he famously painted water lilies, works that are celebrated for their serene beauty and subtle complexity. This transformation from "rage" to "water lilies" reflects Monet’s ability to channel his experiences into different emotional registers, turning personal struggle into artistic triumph.

The poem continues with a reference to Picasso, who famously declared, "I do not seek, I find." This statement, which Picasso "stuck to" throughout his life, reflects his bold confidence in his creative process and his belief in the spontaneous discovery inherent in art-making. Picasso’s claim to "find" rather than "seek" implies a defiance of conventional methods or expectations, as if he was tapping into a wellspring of creativity that was always present, simply waiting to be uncovered. By making "that story stick," Picasso crafted a narrative about himself that reinforced his image as a pioneering and untamed force in the art world.

The final lines of the poem shift from a reflection on these individual artists to a broader statement: "Damn the fathers. We are talking about defiance." This line can be interpreted in multiple ways. It may be a rejection of the traditional, patriarchal expectations of art and creativity, suggesting that these artists, by defying their limitations and the norms of their time, broke free from the constraints imposed by previous generations. The word "defiance" encapsulates the spirit of these artists, who refused to be diminished by age, illness, or convention. Instead, they used their art to assert their vitality and vision, even in the face of adversity.

"Matisse Too" is a celebration of artistic resilience and the transformative power of creativity. Through her references to Matisse, Monet, and Picasso, Ostriker illustrates how these artists continued to defy limitations, using their work to express their innermost emotions and challenge the boundaries of their medium. The poem ultimately speaks to the broader human capacity for defiance and reinvention, affirming that the creative spirit can thrive even in the most challenging circumstances.

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