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What makes Henri Matisse a "modernist," when so much of his work harks back to older French traditions and the artist himself never seems entirely at home in the twentieth century? Bock-Weiss addresses the paradox of Matisse's status as a canonical modern artist, but one whose work and career cannot be mapped onto conventional histories of an insurrectionary modernism. She frames this issue by positioning the artist in surprising contexts: his manipulation of mass media in shaping his public image, his singular relationship with Gertrude Stein, and his painterly use of cinematic devices in...