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| It was Breton who provided the major spur to the Chilean's direction in art, encouraging his work and introducing him to the leading members of the Paris ] movement. Matta produced illustrations and articles in the Surrealist journal '']''. During this period he was introduced to the work of many prominent contemporary European artists, such as ] and ]. | It was Breton who provided the major spur to the Chilean's direction in art, encouraging his work and introducing him to the leading members of the Paris ] movement. Matta produced illustrations and articles in the Surrealist journal '']''. During this period he was introduced to the work of many prominent contemporary European artists, such as ] and ]. | ||
| The first true flowering of Matta's own art came in ], when he moved from drawing to the oil painting for which he is best known. This period coincided with his emigration to the ], where he lived until ]. His early paintings, such as '']'', give an indication of the work he would continue, with diffuse light patterns and bold lines on a featureless background. During the ] and ], the disturbing state of world ] found reflection in Matta's work, with the canvases becoming busy with images of electrical machinery and distressed figures. The addition of clay to Matta's paintings in the early 1960s led an added dimension to the distortions. | The first true flowering of Matta's own art came in ], when he moved from drawing to the oil painting for which he is best known. This period coincided with his emigration to the ], where he lived until ]. His early paintings, such as '']'', give an indication of the work he would continue, with diffuse light patterns and bold lines on a featureless background. During the ] and ], the disturbing state of world ] found reflection in Matta's work, with the canvases becoming busy with images of electrical machinery and distressed figures. The addition of clay to Matta's paintings in the early 1960s led an added dimension to the distortions. | ||
| In his art Matta creates new dimensions in a blend of organic and cosmic lifeforms. He was one of the first artists to take this abstract leap. | In his art Matta creates new dimensions in a blend of organic and cosmic lifeforms. He was one of the first artists to take this abstract leap. | ||
Revision as of 17:39, 29 January 2006
Roberto Sebastian Matta Echaurren (1911-2002), usually known as Matta, was one of Chile's best-known painters. Born in Santiago on 11 November 1911, he was initially an interior decorator, but became disillusioned with this occupation and left for Europe in the mid 1930s. His travels led him to meet artists such as René Magritte, Salvador Dalí, André Breton, and Le Corbusier.
It was Breton who provided the major spur to the Chilean's direction in art, encouraging his work and introducing him to the leading members of the Paris Surrealist movement. Matta produced illustrations and articles in the Surrealist journal Minotaure. During this period he was introduced to the work of many prominent contemporary European artists, such as Pablo Picasso and Marcel Duchamp.
The first true flowering of Matta's own art came in 1938, when he moved from drawing to the oil painting for which he is best known. This period coincided with his emigration to the United States, where he lived until 1948. His early paintings, such as Invasion of the Night, give an indication of the work he would continue, with diffuse light patterns and bold lines on a featureless background. During the 1940s and 1950s, the disturbing state of world politics found reflection in Matta's work, with the canvases becoming busy with images of electrical machinery and distressed figures. The addition of clay to Matta's paintings in the early 1960s led an added dimension to the distortions.
In his art Matta creates new dimensions in a blend of organic and cosmic lifeforms. He was one of the first artists to take this abstract leap.
Matta's connections with Breton's Surrealist movement were severed when a private disagreement led to his expulsion from the group, but by this time his own name was becoming widely known. He divided his life between Europe and South America during the 1950s and 1960s, successfully combining the political and the semi-abstract in epic surreal canvases.
Media pirates have begun a circulation of his video "Système 88".
Matta died in Civitavecchia, Italy, on 23 November 2002.
References
- Passeron, René (1984). The concise encyclopedia of surrealism. Trans. J. Griffiths. Ware, UK: Omega Books. ISBN 0-907853-28-5.