Matta: On the Edge of a Dream by Burgess Modern & Contemporary

M A T T A:

ON THE EDGE OF A DREAM

Front and back cover detail: On the Edge of a Dream

ROBERTO MATTA On the Edge of a Dream Exhibition Dates: February 15th - March 15th, 2018 To preview the exhibition visit www.NewRiverFineArt.com 914 East Las Olas Boulevard Ft. Lauderdale, FL 33301 954.524.2100

NEW RIVER FINE ART

FOREWORD

Roberto Matta is considered the last great Surrealist painter, the bridge between 20th Century Masters and the New York School of artists. His visionary ideas of rendering space, time, energy and the cosmos influenced artists such as Robert Motherwell and Jackson Pollock, giving birth to the Abstract Expressionist Movement. Matta: On the Edge of a Dream explores the artist’s development of “psychological morphology” a theory that codified mental architecture, breaking down traditional perspective and giving shape to space beyond the visible. His mastery of composition and groundbreaking concepts of rendering space enabled Matta to project the inner psyche on canvas. Observing Matta’s work, one has the impression of being lost inside oneself, immersed in a dreamlike state. Through his canvases, Matta created a new dimension by blending Surrealism and Abstraction with organic and cosmic life forms, effectively making him one of the most creative and influential artists of his generation. While the exhibition delves into the artist’s exploration of the collective unconscious, it simultaneously celebrates a thirty year friendship between the artist and guest curator, Thomas Monahan, author of the book Matta: On the Edge of a Dream. The works included in this exhibition have been curated with a passion and knowledge built through interpersonal exchange as the artist’s career developed and his reputation flourished with international acclaim. Many paintings and drawings in this exhibition have been displayed in important museums like the Philadelphia Museum of Art and Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain. New River Fine Art is pleased to offer this exceptional opportunity to collect the rare and significant works included in Matta: On the Edge of a Dream.

Lisa Burgess President

BIOGRAPHY ROBERTO MATTA (1911 – 2002) Roberto Matta is a seminal figure in the canon of modern art. Born in Santiago, Chile in 1911, of Spanish, Basque and French descent, his worldview represented a synthesis of European, American, and Latin American cultures. Matta studied architecture and interior design in Santiago and then apprenticed with Le Corbusier in Paris, where he met poet Federico García Lorca and artist Salvador Dali. He was invited to join the Surrealists in 1937 by André Breton, who credited Matta for his discovery of new regions of space previously unseen in the field of art. The first true flowering of Matta’s own art came in 1938, when he switched from drawing to oil painting and emigrated to the United States, where he lived for the next decade. His “inscapes” and “psychological morphologies” of this time, characterized by diffused light patterns and bold lines on a featureless background, explore states of the human subconscious. While in New York, Matta’s style and his exploration of the Surrealist philosophy of automatic composition heavily influenced the development of the Abstract Expressionist school and their exploration of Action painting. In 1948, Matta was expelled from the Surrealists in a dispute over his relationship with fellow artist Arshille Gorky’s wife, but by this time, Matta’s own name was becoming widely known. During the 1950s and 1960s he divided his life between Europe and South America. Believing that art and poetry could change lives, he took on political, social, and spiritual issues that informed and influenced the times, creating epic, semi-abstract canvases that delve into the human psyche. Matta has been honored with nearly 400 solo exhibitions of his work. In 1957, the Museum of Modern Art, New York opened a major retrospective that later traveled to the Walker Art Center, Minneapolis and in 1958, the Institute of Contemporary Art, Boston. Another retrospective was hosted in 1985 at the Centre Georges Pompidou, Musée National d’art Moderne, Paris, and in 1999, the Museo Nacional Centro de Arte Reina Sofía in Madrid presented “Matta”, which later traveled to the Fundació Caixa Catalunya in Barcelona. In 2002, exhibitions of Matta’s works were presented at the Museum of Contemporary Art, Los Angeles, the Miami Art Museum and the Museum of Contemporary Art, Chicago as well as at the Musée d’Art Moderne et Contemporain, Geneva. In 2011, a centennial exhibition of Matta’s work was hosted by Institut Valencià d’Art Modern, Spain, and traveled to Bilbao Fine Arts Museum. His work is held in the permanent collections of major museums worldwide. He was married twice, first to Patricia Echaurren, an American (who later married Pierre Matisse), and then to Germana Ferrari. He is the father of six children. Matta died in Civitavecchia, Italy on November 23, 2002. 3

Cytherance, 1972

Oil on canvas 40.9 x 54.7 in. ; 104 x 139 cm.

Finding inspiration in Greek mythology, Matta’s stage is the island of Cythera, where Venus emerged from the sea fully formed, coming ashore on a seashell. Simultaneously an earthly goddess who aroused humans to physical love and a heavenly goddess who inspired intellectual love, she serves as Matta’s representation of the sexual revolution and personifies Plato’s theory that the contemplation of physical beauty allowed the mind to better understand spiritual beauty. 5

A Cena con Agatone, 1985

Oil on canvas 84.6 x 157.4 in. ; 215 x 400 cm.

A powerful tour de force of Matta’s amorphic figuration. Soft shaped creatures lounge and cavort throughout the canvas in a scene that recreates the congratulatory gathering held to honor Agatone, the Ancient Greek poet and playwright known for creating characters drawn from his imagination and for his refined and uninhibited hospitality. Selected Exhibitions: Palazzo Reale, Milan Matta: Ti faccio vedere con gli occhi chiusi March - May 1990 Musée municipal de Reykjavik Matta September - October 1996 Centro Cultural Palacio La Moneda Matta Centenario November 2011 - February 2012

Espacio de lâ&#x20AC;&#x2122;Especie, 1962 Oil on canvas 53.1 x 45.6 in. ; 135 x 116 cm.

ÂŠ 2018 Roberto Matta/Artists Rights Society (ARS), New York

By rejecting a fixed vantage point, Matta sought to transform the traditional understanding of time and space and re-interpret the fluctuating energy in the universe. Created as the Space Race between Russia and the USA escalated, the resulting work surrounds the viewer with free-floating stimuli, taking them on a journey inside the cosmos.

Infancy of Concentration, 1983

Oil on canvas 53.1 x 53.1 in. ; 135 x 135 cm.

ÂŠ 2018 Roberto Matta/Artists Rights Society (ARS), New York

Matta narratives frequently featured science fiction-like machines engaged in journeys through multi-planar environments. Within a fantastic journey through time and space, Matta explores the moment between inner psyche and conscious thought.

Explosive Moment, 1970

Oil on canvas 53.5 x 40.1 in. ; 136 x 102 cm.

ÂŠ 2018 Roberto Matta/Artists Rights Society (ARS), New York

Matta took great pleasure in portraying spacecraft traveling through the vast expanses of the universe, metaphorically illustrating the unconscious mind and giving shape to space beyond the visible. The glass walls baricading the inner psyche blow apart as a thought travels outward to consciousness.

Alborada, 1980

Pastel on paper laid on canvas 62.7 x 51.1 in. ; 159.5 x 130 cm.

An unrestrained dance of seduction takes place as the piano player slips into a mad frenzied performance, his hands flailing at the keyboard. The dancer weaves her web and turns to look at her prey, certain of success. This work was featured on the cover of the exhibition catalog “Mattalogo” , held at the Palacio de los Condes de Gabia, Bilbao, 1991.

Misty Morning, 1954

Oil on canvas 24.2 x 28.7 in. ; 61.6 x 73 cm.

ÂŠ 2018 Roberto Matta/Artists Rights Society (ARS), New York

Created in the early morning, Matta captured the moment when yellow light from the sun breaks through the steely haze. Misty Morning utilizes the Surrealist principal of automatic response to illustrate how the irrational, unconscious mind could move beyond the constraints of the rational world and by extension, the rules of a society they saw as oppressive. As dawn breaks through a dream-like state, anything may seem possible.

La Demonstration, 1957

Oil on canvas 31.4 x 39.3 in. ; 80 x 100 cm.

One of Matta’s most striking compositions from 1957, La Demonstration incorporates a theme of conflict and opposing forces through the use of geometric and planar space. Such works exhibit Matta’s attempt to portray invisible thoughts and feelings as visual images. Selected Exhibitions: The Haggerty Museum, Milwaukee, WI, Matta Surrealism and Beyond, September - November 1997 Museo de Arte Comtemporaneo de Monterrey, Monterrey, Mexico, Matta: El surrealismo y mas alla, February - May 1998 Rufino Tamayo Museum, Mexico City Matta: Surrealis and Beyond, June - August 1998 Centro Cultural Borges, Buenos Aires Following the Footsteps of a Giant, November 1998 - February 1999 Centro Cultural Palacio La Moneda, Santiago, Chile Matta Centenario 11.11.11 November 2011 - February 2012 McMullen Museum of Art, Boston College Matta Making the Invisible Visible February - May 2014 13

On the Edge of a Dream, 1956 Oil on canvas 80.7 x 117 in. ; 205 x 297.3 cm.

ÂŠ 2018 Roberto Matta/Artists Rights Society (ARS), New York

Pulsating with exotic life, On the Edge of A Dream embodies the titillating dream state of pure Surrealism. Matta creates an unrecognizable space, which the viewer inhabits, rather than observes, existing in a space somewhere between consciousness and a dream. 15

The Trial, c.1950â&#x20AC;&#x2122;s

Pencil and crayon on paper 19.6 x 25.5 in. ; 49.8 x 67.5 cm.

ÂŠ 2018 Roberto Matta/Artists Rights Society (ARS), New York

This work is closely related to the 1954 painting, Le Meutre des Rosenberg.

Le Meutre des Rosenberg, 1954

Oil on canvas 44.4 x 56.6 in. ; 113 x 144 cm ÂŠ 2018 Roberto Matta/Artists Rights Society (ARS), New York. Matta reveled in the artistâ&#x20AC;&#x2122;s responsibility of commenting on world events. As the certainty of death descends upon the courtroom following the trial of the century that charged Julius & Ethel Rosenberg with espionage, the two forlorn lovers embrace. Partners in life, partners in death. A muted palette of somber tones reflects the inevitable outcome and impending execution of the Rosenbergâ&#x20AC;&#x2122;s. 17

Les Champs de Memoire, 1957 Oil on canvas 45.6 x 59 in. ; 116 x 150 cm.

Swirling through the inner space of memory Matta taps into our vast encyclopedia of experiences that manifest the human psyche. Matta’s inventive use of glass walls symbolize the barrier between one’s secret, innermost thoughts and those expressed to society.

Jazz, 1959

Oil on canvas 31.8 x 39.3 in. ; 81 x 100 cm.

ÂŠ 2018 Roberto Matta/Artists Rights Society (ARS), New York

Matta developed a deep interest in jazz music while living in New York and on his return to Paris, introduced his fellow artists to the emerging sounds of Charlie Parker, Thelonious Monk and Dizzy Gillespie. He was fascinated with the mathematical quality and melding of cultural traditions that served as the basis for the compositions. Matta often listened to jazz while working in the studio, finding a reflection of the musicâ&#x20AC;&#x2122;s syncopated rhythms on his canvas. 19

Lover’s Quarrel, 1970

Oil on canvas 57 x 44.8 in. ; 145 x 114 cm.

Matta frequently commented on the psychological megalomania stimulated by the urge for sexual self-assertion. In Lover’s Quarrel, Matta utilizes a masterful blending of colors and layering of figures to emphasize the cosmic nature of intercourse and the self-aggrandizement of the human spirit. Selected Exhibitions: Centro Cultural Palacio La Moneda Matta Centenario 11. 11. 11, Santiago, Chile November 2011 February 2012 McMullen Museum of Art, Boston College Matta Making the Invisible Visible February - May 2014 20

The Truth of Alienated Life’s Existence, 1963

Oil on canvas 44.8 x 57.3 in. ; 114 x 145.7 cm.

Matta’s passion for ancient civilizations are as evident in this painting as the space exploration that was occurring at the time it was created. Water, the life giving agent of any civilization, pulses life through the heart of the work. Matta utilized automatism 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. Past, present and future meld into one under Matta’s brush. 21

Cube Ouvert, 1977

Oil on canvas laid on wood, 6 works, each 23.2 x 23.2 in. ; 59 x 59 cm. ÂŠ 2018 Roberto Matta/Artists Rights Society (ARS), New York

Cube Ouvert bursts forth from the canvas, enveloping the viewer in a cacophony of color and biomorphic shapes. Composed of six square panels to illustrate the artistâ&#x20AC;&#x2122;s congruence with the vantage point of traditional art, Matta transforms a landscape into the fantastical, the surreal. Intent on capturing his inner psyche in paint, this later work literally folds into a cube as its name suggests, creating a space in which to experience, not simply view, his art. Selected Exhibitions: The Haggerty Museum, Milwaukee, WI, Matta Surrealism and Beyond, September - November 1997 Museo de Arte Comtemporaneo de Monterrey, Monterrey, Mexico, Matta: El Surrealismo y mas alla, February - May 1998 Rufino Tamayo Museum, Mexico City Matta: Surrealis and Beyond, June - August 1998 Centro Cultural Borges, Buenos Aires Following the Footsteps of a Giant, November 1998 - February 1999 Centro Cultural Palacio La Moneda, Santiago, Chile Matta Centenario 11.11.11 November 2011 - February 2012 23

Elasticite du Risible, 1973 Oil on canvas 41.3 x 36.6 in. ; 105 x 93 cm.

Instantly recognizable as a work done by the master himself, Matta once stated “I will make you see with your eyes closed”. In The Elasticity of the Laughable, he seems to parody the human condition, for as he once noted, “The artist doesn’t pretend to offer a solution for everyone’s problems. He expresses his way of confronting problems with society and he invites others to confront and resolve their own, always with optimism, but more importantly with a sense of humour. The artist must have more of this than anyone else.”

The Clan, 1959

Bronze 20.9 x 25.9 x 27.9 in. ; 53.3 x 66 x 71.1cm.

ÂŠ 2018 Roberto Matta/Artists Rights Society (ARS), New York

Examples of this rare sculpture are included in the permanent collection of Museum of Contemporary Art, Chicago and the Hirshhorn Museum in Washington DC. Only 4 of the total edition of 6 were cast. Selected Exhibitions: The Haggerty Museum, Milwaukee, WI, Matta Surrealism and Beyond, September - November 1997 McMullen Museum of Art, Boston College, Matta - Making the Invisible Visible, Feb. 1 - May 24, 2004 San Diego Museum of Art, San Diego, CA, Transmission: The Art of Matta and Gordon Matta-Clark, August 19-November 12, 2006 25

Untitled, 1965

Pencil and crayon on paper 19.6 x 25.5 in. ; 50 x 65 cm.

Selected Exhibitions: The Haggerty Museum, Milwaukee, WI, Matta Surrealism and Beyond, Sept. Nov. 1997 Museo de Arte Comtemporaneo de Monterrey, Monterrey, Mexico, Matta: El Surrealismo y mas alla, February - May 1998 Rufino Tamayo Museum, Mexico City Matta: Surrealis and Beyond, June - August 1998 Centro Cultural Borges, Buenos Aires Following the Footsteps of a Giant, November 1998 - February 1999

La Terre Devant, 1958

Pencil and crayon paper 25.9 x 30.7 in. ; 66 x 78 cm.

Réalité Nouvelle, 1956

Pencil and crayon on paper 19.5 x 25.5 in. ; 49 x 64 cm.

Mind Beaters, 1957

Pencil and crayon on paper 19.75 x 25.6 in. ; 50 x 65 cm.

ÂŠ 2018 Roberto Matta/Artists Rights Society (ARS), New York

Contre la Terreur Sacre, 1954

Graphite and crayon on paper 19.75 x 25.6 in. ; 50 x 65 cm.

ÂŠ 2018 Roberto Matta/Artists Rights Society (ARS), New York

Le Verbo Hommerica I, 1987 Etching 7.8 x 20.8 in. ; 20 x 53 cm.

Le Verbo Hommerica II, 1987 Etching 7.8 x 20.8 in. ; 20 x 53 cm.

Le Verbo Hommerica III, 1987 Etching 7.8 x 20.8 in. ; 20 x 53 cm.

Le Verbo Hommerica IV, 1987

Etching 7.8 x 20.8 in. ; 20 x 53 cm.

Le Verbo Hommerica V, 1987

Etching 7.8 x 20.8 in. ; 20 x 53 cm.

Le Verbo Hommerica VI, 1987

Etching 7.8 x 20.8 in. ; 20 x 53 cm.

The Oppressors, 1983

Etching and aquatint 15.75 x 19.25 in. ; 37 x 49 cm.

The Jazz Band, 1973

Etching and aquatint 14.75 x 19.25 in. ; 37 x 49 cm.

Untitled (Hom’mère V), 1985

Etching and aquatint 19.375 x 14.75 in. ; 49 x 37.5 cm.

Untitled (Hom’mère V), 1985

Etching and aquatint 19.375 x 14.75 in. ; 49 x 37.5 cm.

Untitled (Hom’mère V), 1985 Etching and aquatint 19.375 x 14.75 in. ; 49 x 37.5 cm.

Untitled (Hom’mère V), 1985 Etching and aquatint 19.375 x 14.75 in. ; 49 x 37.5 cm. 32

Untitled (Hom’mère V), 1985

Etching and aquatint 19.375 x 14.75 in. ; 49 x 37.5 cm.

Untitled (Hom’mère V), 1985

Etching and aquatint 19.375 x 14.75 in. ; 49 x 37.5 cm.

Untitled (Hom’mère V), 1985

Etching and aquatint 19.375 x 14.75 in. ; 49 x 37.5 cm.

Réalite au Centre du Noued (Hom’mère IV), 1982 Etching and aquatint 19.6 x 14.75 in. ; 50 x 37 cm.

L’Entrée est à la Sortie (Hom’mère IV), 1983 Etching and aquatint 19.5 x 14.5 in. ; 50 x 37 cm.

L’Essence de L’Essentiel (Hom’mère IV), 1982 Etching and aquatint 19 x 14 in. ; 48 x 36 cm. 34

Carré-Four (Hom’mère IV), 1982

Elire le Délire (Hom’mère IV), 1982

Etching and aquatint 19.25 x 14.75 in. ; 49 x 37 cm.

Revoir les Cartes du Jeu de Descartes (Hom’mère IV), 1982

L’Infra-Rouge de la Pensée Brulante (Hom’mère IV), 1982

Etching and aquatint 19.25 x 14.75 in. ; 49 x 37 cm.

Etching and aquatint 19.6 x 14.75 in. ; 50 x 37 cm.

Ombre Femelle (Hom’mère IV), 1982 Etching and aquatint 19.25 x 14.75 in. ; 49 x 37 cm.

L’Appui de l’appui (Hom’mère IV), 1982 Etching and aquatint 19.25 x 14.75 in. ; 49 x 37 cm.

La Paix est une Idée Neuve (Hom’mère IV), 1982 Etching and aquatint 19.25 x 14.75 in. ; 49 x 37 cm.

Ilse Delivre, 1974

Etching and aquatint 17.25 x 13 in. ; 44 x 33 cm.

Sex-uberant, 1979

Etching and aquatint 15.5 x 19 in. ; 39 x 48 cm.

Pyrocentre, 1979

Etching and aquatint 15.5 x 19 in. ; 39 x 48 cm.

Untitled (L’ame du Tarot de Theleme), 1994 Etching and aquatint 26 x 19.5 in.; 66 x 50 cm.

Untitled (L’ame du Tarot de Theleme), 1994 38

Etching and aquatint 26 x 19.5 in.; 66 x 50 cm.

Untitled (L’ame du Tarot de Theleme), 1994 Etching and aquatint 26 x 19.5 in.; 66 x 50 cm.

914 East Las Olas Boulevard Fort Lauderdale, FL 33301 954.524.2100 www.NewRiverFineArt.com