Henri Matisse (1869–1954) adopted medievalism, a motif of cultural resistance in Occupied France, as a symbol of national unity through his appropriation of the fifteenth-century poems of Charles de Valois, duc d’Orléans (1394–1465). Matisse saw parallels between the plight of the medieval poet, held captive in England, and his own circumstances in France during the Second World War. Begun in 1942, while recovering from his near-fatal illness, aided by his friend André Rouveyre (1879–1962), encouraged by the fugitive poet Louis Aragon (1897–1982), Matisse introduced covert symbols and coded messages of hope and rebirth into his book to highlight his nation’s heritage as he silently participated in the cultural battle that was being fought in France. This article analyses the aesthetic evolution of his wartime illustrated book Poèmes de Charles d’Orléans (1950), and examines his choice of poems, the handwritten text, his decorative illuminations, the images, d’Orléans’s portrait and the frontispiece within the context of the disruption to the French nation and his own personal circumstances.

中文翻译：

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亨利·马蒂斯 (Henri Matisse) 的查尔斯·奥尔良诗歌中的文化抵抗

亨利·马蒂斯（Henri Matisse，1869-1954 年）通过挪用奥尔良公爵查尔斯·德·瓦卢瓦（Charles de Valois，1394-1465 年）15 世纪的诗歌，将中世纪主义（被占领法国的文化抵抗主题）作为民族团结的象征。马蒂斯看到了这位在英国被俘虏的中世纪诗人的困境与他在第二次世界大战期间在法国的处境之间的相似之处。1942 年开始，在他的朋友安德烈·鲁维（1879-1962）的帮助下，在逃亡诗人路易斯·阿拉贡（1897-1982）的鼓励下，他从几近致命的疾病中康复，马蒂斯将秘密符号和希望和重生的编码信息引入到当他默默地参与在法国进行的文化斗争时，他的书突出了他的国家的遗产。