Abstract
Henri Matisse produced three famous “decorative landscapes” in Tangier in 1912. New documents throw fresh light on the physical and cultural milieu in which they were made. Unpublished photographs of Henri and Amélie Matisse in the grounds of the Senya el Hashti (Villa Brooks), Spanish army maps, and the artist’s letters reveal much about this Anglo-Moroccan heterotopia and the process by which Matisse arrived at his abstracting, not quite Orientalist productions. The entrepreneurial modernist used his newfound fame and British connections to access Captain John Hay Brooks’s garden, a space of aristocratic European privilege with a tragic recent history.
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