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Roberto Matta Artworks

Chilean Painter

Roberto Matta Photo
Movements and Styles: Surrealism, Biomorphism

Born: November 11, 1911 - Santiago, Chile

Died: November 23, 2002 - Civitavecchia, Italy

Artworks by Roberto Matta

The below artworks are the most important by Roberto Matta - that both overview the major creative periods, and highlight the greatest achievements by the artist.

Cruxificion (1938)

Cruxificion marks not only Matta's first foray into oil painting, but also the start of what he called his Psychological Morphologies. While it has been suggested that the main forms in this painting represent Jesus and Mary, what is most striking about this work is its abstraction. The painting was created using the Surrealist practice of automatism. Matta utilized this technique as a means to depict a constantly transforming, multi-dimensional time and space. He believed that this allowed for a vision of reality that existed beyond the limits of normal human perception.

The Earth is a Man (1942)

Matta produced The Earth is a Man after being greatly affected by the dramatic landscape during a trip through Mexico in 1941. The painting depicts the earth as a volatile and constantly evolving space. The composition is dominated by what appears to be either an exploding sun or erupting volcano in the left center of the piece. For Matta, this symbolized a personal outpouring of emotions and ideas. Volcanoes also appeared in several other works from this period, such as Invasion of the Night (1941) and Ecouter vivre (1941). Interestingly, The Earth is a Man shares its name with an epic poem Matta composed in 1936 to commemorate Frederico Garcia Lorca's violent death.

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Being With (Etre Avec) (1946)

As one of Matta's "Social Morphology" paintings, Being With (Etre Avec) represents a direct response to the horrors of the Second World War. Matta's deep-seated dismay finds expression in the menacing mechanical contraptions and the contorted, violently violated humanoid forms that populate the painting. The figures here are reminiscent of both totemic art and Alberto Giacometti's sculptures. Furthermore, the influence of the contemporary Mexican muralists can be seen in this work's increased scale, at 87 x 180 inches, and Matta's explicit engagement with social issues.

Etre Cible Nous Monde (1958)

Exemplery of Matta's work from the mid1950s, Etre Cible Nous Monde shows a cosmic landscape dominated by a fantastical machine highly reminiscent of Duchamp's The Large Glass .. (1915-1923). The imagery and title of the painting (loosely translated as, "Our Earth is a Target") hint at the paranoia and fear associated the atomic age, exacerbated by the Cold War and the Space Race. These fears were intensified by Russia's launch of the Sputnik satellite in 1957.

The First Goal of the Chilean People (1971)

Matta was dedicated to the notion of fostering an artistic and social renaissance in Latin America, particularly in his native Chile. He painted the massive, cartoon-like wall mural, The First Goal of the Chilean People, in honor of the 1970 political victory of Socialist president Salvador Allende. When military dictator Augusto Pinochet took power in 1973, he had the work covered in sixteen coats of paint. It was thought that the mural was lost forever until local officials uncovered it in 2005 and took three years to restore it.

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La Source du Calme (The Source of Calm) (2002)

La Source du Calme (The Source of Calm) was Matta's final composition before his death. Like much of his later work, this print exhibits brighter colors, softer forms, simplified figures and an overtly spiritual mindset. This turn to more mystical and mythological themes echoes similar sentiments expressed by authors of the Latin American literary renaissance, like Gabriel Garcia Marquez. Significantly, it also represents a return to the themes of past Latin American authors, such as Garcia Lorca, with whom Matta was closely involved.

Related Artists and Major Works

The Persistence of Memory (1931)

The Persistence of Memory (1931)

Artist: Salvador Dalí (Read Full Artist Overview, Biography, and Artworks pages)

This iconic and much-reproduced painting depicts the fluidity of time as a series of melting watches, their forms described by Dalí as inspired by a surrealist perception of Camembert cheese melting in the sun. The distinction between hard and soft objects highlights Dalí's desire to flip reality lending to his subjects characteristics opposite their usually inherent properties, an un-reality often found in our dreamscapes. They are surrounded by a swarm of ants hungry for the organic processes of putrefaction and decay of which Dalí held unshakable fascination. Because the melting flesh at the painting's center resembles Dalí, we might see this piece as a reflection on the artist's immortality amongst the rocky cliffs of his Catalonian home.

The Bride Stripped Bare by Her Bachelors, Even, or The Large Glass (1915-1923)

Artist: Marcel Duchamp (Read Full Artist Overview, Biography, and Artworks pages)

The Bride Stripped Bare by Her Bachelors, Even, or The Large Glass was partly inspired by author Raymond Roussel's use of homophones, words that sound alike but have different meanings. Duchamp frequently resorted to puns and double-meanings in his work.With The Large Glass, he sought to make an artwork that could be both visually experienced and "read" as a text. After attending a performance of Roussel's Impressions d'Afrique, Duchamp envisioned a sculptural assemblage as a stage of sorts. Preliminary studies for this stage, which would have been over nine feet tall, included depictions of an abstracted "bride" being attacked by machine-like figures in chaotic motion. The constructed gadgetry featured between the two glass panels was also likely inspired by Duchamp's study of mathematician Henri Poincare's physics theorems.

The Soup (1902-03)

The Soup (1902-03)

Artist: Pablo Picasso (Read Full Artist Overview, Biography, and Artworks pages)

La Soupe is characteristic of the somber melancholy of Picasso's Blue Period, and it was produced at the same time as a series of other pictures devoted to themes of destitution, old age, and blindness. The picture conveys something of Picasso's concern with the miserable conditions he witnessed while coming of age in Spain, and it is no doubt influenced by the religious painting he grew up with, and perhaps specifically by El Greco. But the picture is also typical of the wider Symbolist movement of the period. In later years Picasso dismissed his Blue Period works as "nothing but sentiment"; critics have often agreed with him, even though many of these pictures are iconic, and of course, now unbelievably expensive.

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