Question: Where did Matisse shock the public with "Blue Nude"?
About the article "Les Demoiselles d'Avignon", section "Rivalry with Matisse".

Candidate passages:
Blue Nude (Souvenir of Biskra) ("Nu bleu, Souvenir de Biskra"), an early 1907 oil painting on canvas by Henri Matisse, is located at the Baltimore Museum of Art as part of the Cone Collection.
Matisse painted the nude when a sculpture he was working on shattered.
He later finished the sculpture which is entitled "Reclining Nude I (Aurore)".
Matisse shocked the French public at the 1907 Société des Artistes Indépendants when he exhibited "Blue Nude (Souvenir de Biskra)".
The "Blue Nude" was one of the paintings that would later create an international sensation at the Armory Show of 1913 in New York City.
The painting, which may be classified as Fauvist, was controversial; it was burned in effigy in 1913 at the Armory Show in Chicago, to where it had toured from New York City.
In 1907 the painting had a strong effect on Georges Braque and Pablo Picasso, partially motivating Picasso to create Les Demoiselles D'Avignon.  
The Salon d'Automne of 1905 brought notoriety and attention to the works of Henri Matisse and the Les Fauves group.
The latter gained their name after critic Louis Vauxcelles described their work with the phrase "Donatello au milieu des fauves!"
("Donatello among the wild beasts"), contrasting the paintings with a Renaissance-type sculpture that shared the room with them.
Henri Rousseau (1844–1910), an artist that Picasso knew and admired and who was not a Fauve, had his large jungle scene "The Hungry Lion Throws Itself on the Antelope" also hanging near the works by Matisse and which may have had an influence on the particular sarcastic term used in the press.
Vauxcelles' comment was printed on 17 October 1905 in the daily newspaper "Gil Blas", and passed into popular usage.
Although the pictures were widely derided—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair (1872–1945)—they also attracted some favorable attention.
The painting that was singled out for the most attacks was Matisse's "Woman with a Hat"; the purchase of this work by Gertrude and Leo Stein had a very positive effect on Matisse, who was suffering demoralization from the bad reception of his work.
Matisse's notoriety and preeminence as the leader of the new movement in modern painting continued to build throughout 1906 and 1907, and Matisse attracted a following of artists including Georges Braque (1880–1963), André Derain (1880–1954), Maurice de Vlaminck (1876–1958).
Picasso's work had passed through his Blue period and his Rose period and while he had a considerable following his reputation was tame in comparison to his rival Matisse.
To make matters worse Matisse shocked the French public again at the 1907 Société des Artistes Indépendants when he exhibited his painting "Blue Nude (Souvenir de Biskra)," completed in early 1907.
The "Blue Nude" was one of the paintings that would later create an international sensation at the Armory Show of 1913 in New York City.
By the spring of 1907 when he began to paint "Les Demoiselles d'Avignon", until its completion later in the year, Picasso was vying with Matisse for the preeminent position of being the perceived new leader of Modern painting.
Upon its completion the shock and the impact of the painting propelled Picasso into the center of controversy and all but knocked Matisse and Fauvism off the map, virtually ending the movement by the following year.
In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler (1884–1979).
Kahnweiler was a German art historian, art collector who became one of the premier French art dealers of the 20th century.
He became prominent in Paris beginning in 1907 for being among the first champions of Pablo Picasso, and especially his painting "Les Demoiselles d'Avignon."
Before 1910 Picasso was already being recognized as one of the important leaders of Modern art alongside Henri Matisse who had been the undisputed leader of Fauvism and who was more than ten years older than he was and his contemporaries the Fauvist André Derain and the former Fauvist and fellow Cubist, Georges Braque.
In his 1992 essay "Reflections on Matisse", the art critic Hilton Kramer wrote, 
After the impact of "Les Demoiselles d'Avignon", however, Matisse was never again mistaken for an avant-garde incendiary.
With the bizarre painting that appalled and electrified the cognoscenti, which understood the "Les Demoiselles" was at once a response to Matisse's "Le bonheur de vivre" (1905–1906) and an assault upon the tradition from which it derived, Picasso effectively appropriated the role of avant-garde "wild beast"—a role that, as far as public opinion was concerned, he was never to relinquish.
Kramer goes on to say, 
Whereas Matisse had drawn upon a long tradition of European painting—from Giorgione, Poussin, and Watteau to Ingres, Cézanne, and Gauguin—to create a modern version of a pastoral paradise in "Le bonheur de vivre", Picasso had turned to an alien tradition of primitive art to create in "Les Demoiselles" a netherworld of strange gods and violent emotions.
As between the mythological nymphs of "Le bonheur de vivre" and the grotesque effigies of "Les Demoiselles," there was no question as to which was the more shocking or more intended to be shocking.
Picasso had unleashed a vein of feeling that was to have immense consequences for the art and culture of the modern era while Matisse's ambition came to seem, as he said in his "Notes of a Painter," more "limited"—limited that is, to the realm of aesthetic pleasure.
There was thus opened up, in the very first decade of the century and in the work of its two greatest artists, the chasm that has continued to divide the art of the modern era down to our own time.
"
The first painting of Matisse acquired by a public collection was "Still Life with Geraniums" (1910), exhibited in the Pinakothek der Moderne.
His "The Plum Blossoms" (1948) was purchased on 8 September 2005, for the Museum of Modern Art by Henry Kravis and the new president of the museum, Marie-Josée Drouin.
Estimated price was US$25 million.
Previously, it had not been seen by the public since 1970.
In 2002, a Matisse sculpture, "Reclining Nude I (Dawn)," sold for US$9.2 million, a record for a sculpture by the artist.
Matisse's daughter Marguerite often aided Matisse scholars with insights about his working methods and his works.
She died in 1982 while compiling a catalogue of her father's work.
Matisse's son, Pierre Matisse, (1900–1989) opened a modern art gallery in New York City during the 1930s.
The Pierre Matisse Gallery which was active from 1931 until 1989 represented and exhibited many European artists and a few Americans and Canadians in New York often for the first time.
He exhibited Joan Miró, Marc Chagall, Alberto Giacometti, Jean Dubuffet, André Derain, Yves Tanguy, Le Corbusier, Paul Delvaux, Wifredo Lam, Jean-Paul Riopelle, Balthus, Leonora Carrington, Zao Wou Ki, Sam Francis, sculptors Theodore Roszak, Raymond Mason and Reg Butler, and several other important artists, including the work of Henri Matisse.
Henri Matisse's grandson, Paul Matisse, is an artist and inventor living in Massachusetts.
Matisse's great-granddaughter Sophie Matisse is active as an artist.
Les Heritiers Matisse functions as his official Estate.
The US copyright representative for Les Heritiers Matisse is the Artists Rights Society. 
The Conversation, a painting by Henri Matisse dating from 1908–1912, depicts the artist and his wife facing each other before a background of intense blue.
It is in the collection of the Hermitage Museum in Saint Petersburg, Russia.
This was among several works acquired directly from Matisse in Paris by the Russian collector Sergei Shchukin.
After the Russian Revolution, the Shchukin collection was confiscated and, by 1948, was donated to the public along with the Ivan Morozov collection, at the Pushkin Museum of Fine Arts in Moscow and the Hermitage Museum in St Petersburg.
Matisse painted "The Conversation" at a time when he had abandoned the open, spontaneous brushwork of his Fauve period in favor of a flatter and more decorative style.
The painting is large (69 5/8 in.
x 85 3/8 in., or 177 cm x 217 cm), and shows Matisse in profile, standing at the left in striped pajamas, while his wife, Amélie, sits to the right.
The flatly painted blue wall behind them is relieved by a window opening onto a garden landscape.
Art historian Hilary Spurling has described this "stern encounter" as "portray the profound underlying shape or mechanism of a relationship laid down for both parties on the day, soon after they first met in 1897, when Matisse warned his future wife that, dearly as he loved her, he would always love painting more.
"The pajamas worn by Matisse were fashionable as leisure wear in early 20th century France.
They had recently been introduced to Europe from India, where they were worn by tea planters, and Matisse habitually thereafter wore pajamas as his studio working clothes.