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Roberto MattaDe trace de pas de trace de…1966
1966
$1,500
£1,159.01
€1,339.93
CA$2,119.61
A$2,377.28
CHF 1,244.95
MX$28,886.29
NOK 15,808.73
SEK 14,987.79
DKK 10,001.84
About the Item
De trace de pas de trace de…
Color etching with aquatint, 1966
From: Monsour and Matta, Les Damnations, 1966 (11 plates, this one of 7 hors text images)
Edition: 85 portfolios in the regular edition
This one of the deluxe edition printed on Japon nacre paper and signed in pencil by Matta
Colophon signed by Matta and the poet Joyce Mansour who collaborated with Matta
Publisher: Editions Georges Visat, Paris
Condition: Excellent
Image: 13 1/2 x 10 5/16"
Sheet size: 16 3/8 x 12 3/4"
Provenance: Ray H. French (1919-2000)
Reference: Matta 135-158 (entire portfolio)
Note: Joyce Mansour (1928 - 1986) was born in England, raised in Cairo, and moved to France where she quickly became one of the major Surrealist figures around Andre Breton, her writings garnering respect among the Surrealist group of this time period and in Paris in general. Now widely recognized as an important poet in Europe, especially after the release of Hubert Nyssen’s large French compilation of all her poems, essays, and plays which garnered critical acclaim through out Europe, this is the first major anthology of her works to be available in the English language. Translator Serge Gavronsky, who has been writing about, and masterfully translating Mansour’s works for over thirty years, presents a succinct overview of her work and an introduction that places the historical context of her work and her life. Mansour’s violent eroticism (in the 1950s before the first waves of feminism) and mastery over the poetic form create nothing less than a thoroughly modern poet.
- Creator:Roberto Matta (1911-2002, Chilean)
- Creation Year:1966
- Dimensions:Height: 21.13 in (53.68 cm)Width: 17.13 in (43.52 cm)Depth: 1.25 in (3.18 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Very Good original condition.
- Gallery Location:Fairlawn, OH
- Reference Number:Seller: FA111611stDibs: LU14015071212
Roberto Matta
“The function of art,” the Surrealist Roberto Matta once stated, “is to unveil the enormous economic, cultural and emotional forces that materially interact in our lives and that constitute the real space in which we live.” In his paintings, Matta sought to expose those forces through the Surrealist practice of automatism, creating work in a free-associative state intended to conjure the unconscious.
After studying architecture in his native Chile, Matta, then 22, chose to pursue the field in Paris, where he mingled with stars of the avant-garde like Gertrude Stein, Salvador Dalí and Walter Gropius. In the late 1930s, he abandoned Paris, together with his job at Le Corbusier’s studio and (for a time) his career, for modern art’s new epicenter, New York City. There, he became a colleague of art legends like Marcel Duchamp and Arshile Gorky.
Although celebrated primarily for his work as a painter, Matta was an equally talented furniture designer. His furniture pieces, like his artworks, are the stuff of dreams. The back of his totem chair, for example, is composed of smiling, cartoonish creatures stacked on top of each other. In his MAgriTTA armchair, the top half of a plush green apple sticks out of large black bowler in homage to its namesake, the Belgian Surrealist René Magritte.
But perhaps the piece that most truly embodies his artistic philosophy is his 1966 Mallite modular system: a collection of spongy, undulating sofas and lounges that can be fitted together to form a puzzle-like room divider. The work, an original edition of which is in MoMA’s permanent collection, has in recent decades been a hard-to-find collectors’ item — until 2019, when Italian design brand Paradisoterrestre issued a reedition, available through Duplex.
Browse Roberto Matta's paintings and furniture designs on 1stDibs.
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