of visiting matisse at that time. >> rose: didn't matisse say something about north and south becauses from north of france and picasso was from spain. >> matisse was from the north and actually he came from a textile region. so his interest in textile and the use of pinning that you see in the cutouts i think relate to those early yearsniÑ and then of course he moves to the south and he loves the light of the south and he you really see that. >> he's living in nice. >> he's living in nice and also for a period in vance which is a short trip away because there's some fear nice wasn't safe in world war ii and was in this house of the dreams so it's kind of perfect for this kind of work. >> rose: the next work is 1943 in the fall of icarus. here it is. >> this is a very special work because it's the forms are still pins. and one of the i think observations, maybe what you might think is a small observation but which had amazingly large implications for us is that when matisse composed his works, he would pin the forms. either to a board or layer as the works got bigger he would have ass

it shows matisse pushing towards abstraction. it also shows the way he uses positives and negatives. if you look at the white form and flip it, it fits into the white running along the top read >> the next one is composition black and red. it shows the way in image can be created using positive or negative. >> on the left, he has cut a leaf form or algae form. the negative is just above it. to the right, the pink form is the negative of the white. that positive white form moved to another work and now exists in another work. it is both positive and negative in one work, and then works moving from one composition to the next. >> next is pale blue window. >> this is a design for a window for the chapel. he described the work as one of his great masterpieces. the project started when a former nurse of his came to him with a design for stained-glass windows for a new chapel adjacent to the residents. she looked at the design and spent some time with it. and then set it aside. what started as a design for one window turned into an ent

were accesshat idea to a trove of photographs in the matisse archives. we were able to see the way individual works would move and change and forms would move from one work to the other. icarus, which is the story of icarus getting too close to the sun in the wings melt, still has those pins. there is the very poignant part of become position where his heart itself is pinned to the body. >> tummy me about matisse and color. tell me about matisse and color. >> he is a great colorist. he was also a great draftsman. drawings from many different times are wonderful and important and varied. with the cutouts, he was able to marry these two. he felt these were two conflicting desires, but with the cutouts, he called it cutting into vivid color. drawing with scissors. he was able to create both the but a contour in color. that is the joy of these works. >> even though he was a political artist, people have -- she was not a political artist, people have suggested this is a comment on nazi aggression. used cut paper. it is happening during a war. it raises the qu

best known among the fauve was henri matisse. this is matisse's luxe, calme, et volupte.e began in 1904 to use a repertoire of colored patches and marks brilliantly synthesized from gauguin, van gogh, and signac, using them as the sumptuous pictorial vehicle for his own range of preindustrial idylls. his luxe, calme, et volupte is a spectacular example. fauve means wild beast. it was a critic's tag. and it was the seeming wildness of paintings like this by andre derain that made them, for contemporaries, so much more modern than their sources. by their sources, i mean gauguin and even van gogh. and yet, when one looks at a derain like this, i think it's very obvious that the discord, the tension that came with the sexual subject matter of kirchner in germany and of schiele in austria just isn't there. the fauves used their wild way with color-- it was actually much less wild than it seems. they knew exactly how to use a blue against a green, an orange or red against a yellow-- they used their way with color to ravish the eye. they produced versions not only of a golden ag

. >> masterpieces from matisse and chagal. experts thought they were lost, until discovered. about a third of the thousand -- pluthousand-plus pieces of artw. a legacy the museum took six months to accept. >> translator: the decision ladies and gentlemen was far from easy for board of trustees, there was certainly no feelings of triumph, they would be absolutely inappropriate in light of the art collection's history. >> a special german panel is deciding which works like this one, a $20 million matisse, properly belonged to the jewish owners. they've only acted on 3 of 600 pieces in the past six months. shedding light on the provenance was of the utmost importance. now the german government can begin returning stolen works. >> the agreement is a good step in the right direction because it is the best steps to go to restitution. however it's pretty general and there are concrete questions for the survivors and the harris. for example to whom should they go to, in order to get back the looted art, should they go to berne, should they go to the german government? >> but the deci

. >> masterpieces from matisse, chchagal and picasso. a billion dollar hoard with a dark past. about a third of the artworks may have been taking from juice facing nazi persecution. left his entire inheritance to the bernee museum. a legacy the museum took six months to accept. >> the the decision ladies and gentlemen was far from easy for the board of trustees. there was no feeling of tr triu. >> a special german panel is deciding which works like this one a $20 million matisse, properly belonged to jewish owners. but only decided on three of some 500 suspect works in the last six months. cultural minister said shedding light on the provenance, the german government can begin returning stolen works. >> the agreement is good step in the right direction. because it is the first steps to go to restitution. however, it is pretty general and there are complete questions for survivors and harris. for example to whom should they go to in order to get back the loot ied art? should it go to berne berne or e german government? >> doesn't put an end to th to e gerlitz sag. saga. the coll

level of quality as the old masters or as, let's say, the best of the school of paris-- picasso, matissemondrian. they were striving for excellence. they found they did better work when they went abstract. mark rothko chose a path to pure expression by using only gradations of color on his canvases. pollock's vision and greenberg's theory were explored by a second generation. many acknowledged that helen frankenthaler adapted pollock's technique in a way that made him more accessible to other artists. she stained her canvas with highly diluted paint to achieve these haunting effects in mountains and sea. the abstract expressionist movement dominated the world of western art for over a decade. by the mid fifties, they were established, only to be superseded by a new avant-garde. the postwar world is characterized by an acceleration of speed-- speed of travel, of information, of communication, indeed, speed of change itself. a style which in the middle ages or the renaissance took decades to work itself out could now run its course in a year or less. in such a culture, saturated with objec

matisse continued to paint untroubled evocations of life in the south of france. in germany the sequel to defeat was revolution-- a bitter struggle between nationalists and revolutionaries. grosz's observations of nationalist brutality made him one of the left's most powerful propagandists. "i felt the ground shaking beneath my feet," he said. "and the shaking was visible in my work." his caricatures of weimar germany reject a society depraved by greed and power. grosz's contempt was shared by wider artistic developments in europe and america. those developments became known as dada. dada was like a storm that broke over the world of art. it had many centers-- from zurich to hanover from cologne to new york-- and many sorts of artistic expression. unlike grosz in berlin these dada artists didn't see the exposure of class divisions as their central purpose. they attacked the foundations on which nations were built-- truth, beauty, reason, science. in the wake of the catastrophe all these values were brought into question. in paris and new york, marcel duchamp produ

henri matisse. frida kahlo. andy warhol. discover the next great artist. get out and play and get inspired with toddler classes. experience art where making a mess is part of the process. classes and the size the artistic process rather than the product. children have the freedom to explore materials at their own pace and in their own way. talks love art, especially when they died into the creative process -- dive into the creative process. at the end of the classes, they have cleaned and washup. of.com great way to get out and play. for more information, visit sfrecpark.org. that out and play and get into the groove. rec and parks offers dance classes for seniors. first-time beginners or lifetime enthusiasts -- all are welcome. enjoy all types of music. latins also, country and western. it is a great way to exercise while having lots of fun. seniors learn basic moves and practice a variety of routines. improve your posture, balance, and flexibility. it is easy. get up on your feet and step to the beat. senior dance class is from sf rec and park. a great w

tonight, we go to the museum of modern art and take a lookthe new matisse exhibit. >> he reallyone of the most important artists in the 20th century. very many people place him and picasso together as the two major people. also with do chum. he is a person with a very long career and varied career and important career. what's important for us with the cut-outs is in this late work he was signaling to younger artists a new way of thinking about form and bringing together color and drawing. >> he just had an enormous impact both during his life. artists came to visit him to his studio in nice and also in a whole generation. i thk

matisse, genest, william burroughs. many have come this way, staying a while or hanging around.r or became more associated with tangier than the novelist and composer paul bowles. in works like "the sheltering sky" he created a romantic vision of tangier that persists even today, a dream that's become almost inseparable in the minds of many from reality. i'm here to find that dream city. the place burroughs referred to as "interzone." ♪ tangier like i said was a city of ex-pats -- people with pasts, people who simply didn't like where they were and craved somewhere and something else. the grand socco is the gateway to the medina where you could find the kasbah, which means fortress, by the way. the port is to the east, and right in the middle of it all, the petit socco, called the last spot, the meeting place, the switchboard of tangier. as burroughs called it. reasons for settling in tangier diverge, but everyone sooner or later, since the beginning of memory comes to cafe tingis. jonathan dawson came to this city over 20 years ago as a journalist and he never left. he lives a

beautiful things, i imagine if some art loferg lived in paris and come across picasso or braque or matisseame across them, i'm here to i didn't want to make money from it, i didn't want to control it, i wanted to just disseminate it, i wanted the information to get out. >> arnett introduced people like lonnie to gallery owners. >> bill allow my works to be on exhibit for the olympics here in atlanta, he put my works in some of the greater institutions. light the united nations. my works is in the smithsonian because of bill. i have works that have been on exhibit in the white house garden. >> arnet also introduced thornton dial to the art world. >> i think he's as great as chagal and picasso. >> recognizing thornton dial of the extraordinary contribution -- >> arnett had his critics, of ripping off uneducated black artists. >> the allegation that i was taking advantage of black artists is more painful that i'd like to explain. >> i grew up my dad was one of the most up-beat, happy people, he went through many years where it was i think hard for him to get out of bed. >> lonnie holly made c

. >> reporter: a german panel is deciding which works, like this $20 million matisse belong to the heirs of former jewish owners. it decided on three of some 500 suspect works in six months. >> translation: germany's culture minister says shedding light on the origins was of importance given the history. now that the museum accepts legacy, the german government can return stolen works. >> it's a good step in the right direction, it's the first steps to go to restitution. it's general. and complete questions for survivors. for example, to whom do they go to in order to get back the art. should they go to the german government. >> but the decision by the swiss museum does not put an end to the saga. his cousin says he was not in his right mind when he wrote his will. and the collection is right fully hers >>> there's nor come in al jazeera, don't go away. ♪ >> the sport now, here is andy. >> thank you. after qualifying in poll position for sunday's f 1 championship decided in abu dhabi, double points for the first time, the german who is 17 points behind hamilton can overhaul and with a wi

. >> for inmate timothy matisse, who was sentenced to two years for possession of methamphetamine, thes programs has helped him discover the problems that led him to jail. >> so the high-speed pursuit was related to the -- >> oh, absolutely. >> -- fears that you had? >> well, yeah. the way they make it look like is they're going to say, okay, well, maybe he's schizophrenic. and knowing that i'm not schizophrenic and it's really happening and it's going on, they can say, well, it's the drug use. >> for other inmates at l.a. county death is the easiest way to escape their cell. >> we put a tremendous amount of effort into developing the screening system because we know that the highest risk, particularly for suicide, of people entering custody is during the first 24 hours that they're incarcerated. >> according to the bureau of justice statistics, suicide ranks second behind natural causes as the leading cause of death behind bars in local jails. >> there's a strong urine smell. we do our best to keep that smell away, but that's pretty typical of a jail, especially a mental housing unit.