Living with an epileptic

Last month's theft at the Museum of Modern Art in Paris saw a masked thief break a lock, smash a window, and steal a Picasso, a Matisse, a Braque, a Leger, and a Modigliani in full view of several security guards.

"You must have stolen at least one Picasso before you die", certainly written in the "become a good art thief" training materials on the first page, according to the Bureau of Statistics figures, Picasso is "the most stolen painter", the world's top ten museums, not stolen a piece or two Picasso, it is estimated to be embarrassed to say hello to people. The second most stolen list is said to be Munch, the eccentric Norwegian man who was lonely and depressed in life and gave his semen to women as a painting, but his work "Scream" became one of the most reprinted paintings in the world after his death, and the work has been repeatedly stolen, becoming a must-read chapter in the history of theft of famous paintings.

The famous American cultural figure, Gore Vidal, commented on the significance of artworks to human beings: the artworks we create are a small "yes" in front of a huge "no".

• Picasso is known as "the greatest and most influential painter of our time", his "yes" is deafening, but for a person with bad taste and a bad heart, Picasso is too bright and too huge, so I ignore his achievements on my behalf and on behalf of humanity. I ignored his outstanding achievements on behalf of humanity, and deeply loved Matisse in my heart.

Matisse did not care about human achievement, he once said, I want my work to be the comfortable chair of a tired businessman. My favorite art critic Robert Hughes summed up Matisse's life this way: "He was born in 1869, the year the fastest sailing ship before the age of the ship was launched, and died in 1954, the year the first hydrogen uranium bomb exploded in Bikini; his life spanned two worlds, he lived through the worst wars in history, the most horrific massacres, the fiercest ideological In the 1960s, when everyone thought art could change the world, we despised Matisse, but now we have to admire Matisse's common sense; Matisse had no illusions about his audience, he knew that the only audience art could have was the educated bourgeoisie, and history has proved him right."

In addition to admiring Matisse's motionless form in the face of dramatic change, his calmness in creating a small world outside of the great era, another reason I love Matisse is that he loved Cézanne as much as I did. Matisse had Cézanne as his spiritual mentor in his early years, with his brutal brushwork and savage colors, using the space between objects to represent objects. Yet Cézanne was a man who had as much trouble dealing with human relationships as Munch, and his portrayals of male women were always filled with metaphors of violence and sex. Matisse gradually left Cézanne in his mid- to late-period, seeking purer shapes, more beautiful forms, and a simpler representation of the nature of things.

Matisse's Idylls, stolen in Paris in 1905, takes its construction from Cézanne's masterpiece Three Bathing Women, yet the colors are bright and beautiful, reflecting the beauty of women living in harmony with men and with nature. Picasso's "Dove and Peas", which was stolen this time, is a cubist masterpiece. Picasso once said after viewing a large number of African masks: If you give ghosts a shape, you can set them free. Picasso's Cubism is clearly an expression of his understanding of "modernity" and freedom in a twisted and distorted way.

As two of the most outstanding modernist painters, Picasso and Matisse had a complex relationship. Picasso once said: If I didn't paint the way I paint now, then I must paint like Matisse. Matisse said: There is only one person who has the right to criticize me, and that is Picasso.

In 1907, they decided to send each other a painting. Both ended up picking what they thought was the other's worst work, as if to bolster their own sense of security. Matisse picked Picasso's "Kettle, Bowl, Lemon" because a still life by Matisse had just recently come under heavy fire in the press, with art critics calling out in the papers that "lemons are not flat, Mr. Matisse. Picasso's lemon, apparently, is much flatter than Matisse's.

In 1945, Matisse and Picasso held a joint exhibition at the Victoria and Albert Museum in London, and before the show, Matisse wrote in his notebook, "Tomorrow at 4 p.m. Picasso is visiting, and I have to do this exhibition with him for the London publicity, and when I imagine the same room with my work on one side and his on the other, I feel like I am living with an epileptic A patient living with epilepsy."

So the Paris police really should have put an open letter in Le Monde: "To the thief of the Museum of Modern Art in Paris - if you love Matisse, please remember to hang him and Picasso in two separate rooms.