Selected by Ray Waterhouse

ROBERTO MATTA, Una persona amada, 1961-62


Matta's earliest works were abstract crayon drawings produced using the Surrealist practice of automatism. Matta was well established within the Surrealist group by the time that he was forced to flee Europe for America in the fall of 1939. When Matta arrived in New York City, he was the youngest and most outgoing of Surrealist emigres. These traits, combined with a shared interest in automatist art-making techniques, allowed Matta to quickly form relationships with several of the young New York School artists. Throughout the first half of the 1940s, Jackson Pollock, Arshile Gorky, William Baziotes, Peter Busa, Robert Motherwell, and others met frequently with Matta to learn about his personal ideas about Surrealism. 


In the mid-1940s, Matta's work changed dramatically. Responding to the continuing horrors of the Second World War, Matta expanded his artistic interests beyond his exploration of the subconscious mind. He moved towards a more active engagement with the world in a series of works that he called "Social Morphologies." Many of Matta's paintings from this period incorporate strangely menacing, machine-like contraptions and totemic human forms. He pitted these elements against each other in seemingly constant battle within a landscape of amorphous spaces and vaguely architectural planes. These works have a new emotional immediacy, reverberating with a formal tension created by the often violently oppositional forms.


Matta enjoyed increased professional and creative success in the mid-1940s. Yet, his new use of figuration and narrative created a significant intellectual rift with both the Surrealists and Abstract Expressionists. Matta's life was further thrown into chaos in 1948, when his close friend, Arshile Gorky, committed suicide. Many in the New York Surrealist circle blamed Matta, who had been having an affair with Gorky's estranged wife. Breton publicly expelled Matta from the Surrealist group. This action has been attributed not only to Matta's social infraction, but also to his increased interest in exploring social and political issues through his work. Ostracized by the artistic community in New York, Matta returned to Europe in 1948. He moved first to Italy, and then, beginning in 1955, kept residences in both Paris and Rome. The Surrealists eventually invited Matta to rejoin their group in 1959. He declined their offer, preferring instead to continue his artistic explorations on his own.


Beginning in the 1960s, Matta dedicated himself to political and social issues in Latin America. During this time, Matta also traveled multiple times to Chile. He strongly supported Salvador Allende's Socialist government, and the newly elected president even invited Matta to be Chile's Cultural Attaché. The artist found great professional and spiritual fulfillment in his home nation until the rise of Pinochet's military dictatorship in 1973. Perhaps the zenith of Matta's engagement with Latin American cultural themes was his group of works produced in 1983 titled, El Mediterano y el Verbo Americas. In this series of poems and paintings, Matta created an analogy between the Latin American and European cultural renaissances. He presented the idea of "America" as verb - constantly moving, evolving, and changing.


Matta was the subject of several significant exhibitions in the later half of his career. Most notably, he received retrospective shows at the Museum of Modern Art in New York in 1957, the National Gallery in Berlin in 1970, and the Pompidou Center in Paris in 1985. During these years, Matta broadened the scope of his artistic practice. He began adding clay to some of his paintings in the early 1960s, and over the next thirty years experimented extensively with printmaking, tapestry, ceramics, furniture making, and sculpture. Many of Matta's works from his final decades exhibit a lightening of tone and color, and a turn towards more timeless, mythological, and mystical subject matter.


Throughout a long and fruitful career that spanned six decades and multiple continents, Matta established himself as one of the central figures in the Surrealist movement. Yet, while he certainly shared stylistic and intellectual similarities with the Surrealist group, he was never able to completely reconcile his strong social conscience with its necessarily inward-looking practices. Instead, Matta balanced his interest in the human psyche with an active engagement with the external world. In the process, he provided early and crucial inspiration for the Abstract Expressionists. Matta's artistic legacy was also a deeply personal one, as four of his six children became notable artists as well.


ROBERTO MATTA (Chilean 1911-2002)

Una persona amada, 1961-62

Mixed media on canvas

52 x 57 in / 132 x 145 cm

May 10, 2021