“The Joy of life” demonstrates a multitude of contrasting colors, both warm and cold, which nevertheless agree with each other. Indeed, the green and orange that make up the foliage comes out yellow, blue and pink ground. The structure forms and wavy lines in this painting creates a certain harmony in this mix of bright colors, a certain fluidity that makes the strong colors a little lighter. The characters of “The Joy of Life” (1905-1906) are dedicated to allegories of the arts (music and dance) and pleasures (body beauty and love) life, which bring them, as the title itself suggests, “la joie de vivre”. We can also observe the circle of dancers, in the background, serving as a preparatory study for the painting La Danse, he realized in 1909 this painting is a hymn to the beauty of the body, art and color. In the painting we can observe that arabesques enhance the bodies, and that they are themselves emphasized, from time to time, by rings or halos of color. Matisse seemed to have a lot of fun drawing the bodies of women, who had obviously keen to decline all sorts of curves, forming all kinds of poses. The installation of one of the women in the second plan will be taken up by Matisse's Blue Nude in Biskra 1906 (Baltimore), but there will also be, for example, some of the dancers from the background, greatly enlarged, in Dance (the two major versions of 1909 and 1910, the Museum of Modern Art in New York and the Hermitage Museum in St. Petersburg). Matisse's work took a new turn in 1905-1906 when he painted “the joy of life”. For this work, he finally emerged as an innovative artist. Practicing a synthesis of everything he has learned over the last fifteen years, Matisse integrates new but decisive influence of Ingres, through which he completed to update the tradition and heritage of the old masters, previously confiscated by academic artists. Making use of a new way of painting (pure colors arranged in flat, use