Question: How long did Matisse spend studying in Morocco?
About the article "Henri Matisse", section "Gertrude Stein, Académie Matisse, and the Cone sisters".

Candidate passages:
Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only a few years, 1904–1908, and had three exhibitions.
The leaders of the movement were Matisse and André Derain.
Matisse's first solo exhibition was at Ambroise Vollard's gallery in 1904, without much success.
His fondness for bright and expressive colour became more pronounced after he spent the summer of 1904 painting in St. Tropez with the neo-Impressionists Signac and Henri-Edmond Cross.
In that year he painted the most important of his works in the neo-Impressionist style, "Luxe, Calme et Volupté".
In 1905 he travelled southwards again to work with André Derain at Collioure.
His paintings of this period are characterised by flat shapes and controlled lines, and use pointillism in a less rigorous way than before.
Matisse and a group of artists now known as "Fauves" exhibited together in a room at the Salon d'Automne in 1905.
The paintings expressed emotion with wild, often dissonant colours, without regard for the subject's natural colours.
Matisse showed "Open Window" and "Woman with the Hat" at the Salon.
Critic Louis Vauxcelles described the work with the phrase "Donatello parmi les fauves!"
(Donatello among the wild beasts), referring to a Renaissance-type sculpture that shared the room with them.
His comment was printed on 17 October 1905 in "Gil Blas", a daily newspaper, and passed into popular usage.
The exhibition garnered harsh criticism—"A pot of paint has been flung in the face of the public", said the critic Camille Mauclair—but also some favourable attention.
When the painting that was singled out for special condemnation, Matisse's "Woman with a Hat", was bought by Gertrude and Leo Stein, the embattled artist's morale improved considerably.
Matisse was recognised as a leader of the Fauves, along with André Derain; the two were friendly rivals, each with his own followers.
Other members were Georges Braque, Raoul Dufy and Maurice de Vlaminck.
The Symbolist painter Gustave Moreau (1826–1898) was the movement's inspirational teacher; as a professor at the École des Beaux-Arts in Paris, he pushed his students to think outside of the lines of formality and to follow their visions.
In 1907 Guillaume Apollinaire, commenting about Matisse in an article published in "La Falange", wrote, "We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable."
But Matisse's work of the time also encountered vehement criticism, and it was difficult for him to provide for his family.
His painting "Nu bleu" (1907) was burned in effigy at the Armory Show in Chicago in 1913.
The decline of the Fauvist movement after 1906 did not affect the career of Matisse; many of his finest works were created between 1906 and 1917, when he was an active part of the great gathering of artistic talent in Montparnasse, even though he did not quite fit in, with his conservative appearance and strict bourgeois work habits.
He continued to absorb new influences: he travelled to Algeria in 1906 studying African art and Primitivism; after viewing a large exhibition of Islamic art in Munich in 1910, he spent two months in Spain studying Moorish art.
He visited Morocco in 1912 and again in 1913 and while painting in Tangiers he made several changes to his work, including his use of black as a colour.
The effect on Matisse's art was a new boldness in the use of intense, unmodulated colour, as in "L'Atelier Rouge" (1911).
Matisse had a long association with the Russian art collector Sergei Shchukin.
He created one of his major works "La Danse" specially for Shchukin as part of a two painting commission, the other painting being "Music," 1910.
An earlier version of "La Danse" (1909) is in the collection of The Museum of Modern Art in New York City. 
In 1941, Matisse, who lived most of the year in Nice in the south of France, developed cancer and underwent surgery.
During the long recovery he was particularly helped by a young part-time nurse, Monique Bourgeois, who had answered his advertisement seeking "a young and pretty nurse" and who took care of Matisse with great tenderness.
Matisse asked her to pose for him, which she did, and several drawings and paintings exist.
In 1943 Bourgeois decided to enter the Dominican convent in Vence, a nearby hill town to Nice, and she became Sister Jacques-Marie.
Matisse eventually bought a home at Vence, not far from the convent where the young nun was stationed.
She visited him and told him of the plans the Dominicans had to build a chapel beside the girls' high school which they operated in Vence.
She asked Matisse if he would help with the design of the chapel.
He had never done anything like it, but Matisse agreed to help, beginning in 1947.
Father Marie-Alain Couturier, who collaborated on several artistic Catholic churches after World War II, was also involved in the project.
At the age of 77, Matisse began the greatest project of his life and spent more than four years working on the chapel, its architecture, stained glass windows, interior furnishings, murals, and the vestments of the priests.
It is perhaps the greatest ensemble artwork of the 20th century, and certainly the greatest religious commission.
While Matisse had been baptized a Catholic, he had not practiced the religion for many years.
He designed the chapel as an artistic challenge.
The story of the friendship and collaboration of Matisse and Sister Jacques Marie is related in her 1992 book "Henri Matisse: La Chapelle de Vence" (ISBN 2909767000) and in the 2003 documentary "Model for Matisse".
Sister Jacques Marie died in 2004, aged 84. 
Au Maroc (1890; "In Morocco") is a travel memoir by Pierre Loti about a month-long journey by horseback in Morocco through Tangier, Fez and Mekinez.
The initial trip from Tangier to Fez was in the company of a French embassy, after which Loti continued on by himself dressed in native clothing.
"Au Maroc" was Loti's first pure travel literature.
The book has been influential.
Matisse, before coming to Morocco, studied the country by reading Loti's book.
Edith Wharton’s "In Morocco" (1920) found its "strongest influence" in Loti's account. 
 Pierre Matisse, gallerist, son of Henri Matisse (b.
1900).  
While studying at the California Institute of the Arts, Damon Edge became influenced in making unusual sounds; this progressed after a trip to Morocco where he heard a lot of Arabic music.
In his head he began putting a beat behind the music and started coming up with ideas for songs.
Chrome's music contains a lot of atmosphere in the sound production.
There are a lot of three- and eight-note melodies, usually layered with an atonal drone backed by a rhythm section.
This sort of atmosphere was influenced by the music he had heard in Morocco.
About six months after that trip, Edge began forming a band and recording his new music.
During the 1970s, Chrome's music did not fit into any particular music scene in America.
People found it hard to know how to book the band, or deal with promoting and distributing their music.