Jan Matulka Art

VIEW OF THE BRONX Watercolor American Modern Modernism NYC 20th Century Drawing. Jan Matulka (1890 – 1972) "View of the Bronx," 15 x 20 inches. Watercolor on paper, c. 1920s. Signed lower Right. In 1907, he came to the Bronx, New York where he had a poverty-ridden childhood with a mother who tried to raise a family by herself. From 1908 to 1917, he studied at the National Academy of Design, and in 1917, received the first Pulitzer Traveling Scholarship with which he traveled and painted in the Southwest and Florida. His work from this period showed a turning towards a more abstract style, replacing his earlier realism. In 1919, he first went to Paris and then returned in 1927 on a scholarship from the National Academy. In Paris, he was exposed to Cubism, and his painting after that seemed always to carry that influence. He had his first one-man exhibit in New York City in 1925, and by 1930, he and Davis were experimenting with their version of Cubism. Concurrently for New Masses, a communist magazine, he did satiric illustrations expressing his sympathy for the working classes, and from 1929 to 1931, he taught at the Art Students League where he inspired emerging modernists such as David Smith, Dorothy Dehner, and I Rice...

1925. Lithograph. Flint 7. 14 1/8 x 10 3/4 (sheet 18 9/16 x 12 3/8). Very few impressions; no published edition. Fine impression apart from vertical uneven printing line. Printed on ...

A modernist mountain landscape (likely of Colorado) vintage 1930s oil painting by Jan Matulka (1890-1972). Sogmed nu tje artist in the lower right, estate stamped verso. Custom hand-carved frame measuring 30 x 35 inches, canvas size is 25 x 30 inches. Expedited and International shipping is available - please contact us for a quote. Provenance: Estate of the artist, Jan Matulka About the Artist: By maintaining his Czech birthright and European ties, Jan Matulka played a distinctive role in the development of American modernism. Participating in significant artistic circles in this country and France, he was an enthusiastic emissary of Cubism and Surrealism to both colleagues and students. His independent spirit worked against a successful art career, and personal misfortune and deafness increasingly cut him off from the emerging avant-garde scene. While Matulka experienced a renewed interest in his work before his death, his legacy as an inexhaustible creative force is only now appreciated. Born on a dairy farm in South Bohemia in 1890, Matulka first pursued his artistic ambitions in Prague, an advanced cultural center that quickly embraced Cubist art and architecture. The intellectual vanguard supported a national revival, which included an interest in folk tales and traditions. For the young Czech artist, the simplified yet dynamic forms of Cubism and folk arts would become a liberating vocabulary, one he could apply to the sturdy underpinnings of traditional education. Throughout the many turns of his artwork, Matulka always brought a firm sense of design and command of drawing to his imaginative musings. Arriving in the Bronx with his family in 1907, he began studies the following year at the conservative National Academy of Design, winning the $1500 Joseph Pulitzer Traveling Scholarship upon graduation. Because of the war, his artistic pilgrimage to Picasso’s Spain was stymied. So he traveled to those areas of the US that were settled by the Spanish, such as Florida, Arizona and New Mexico. While in the Southwest, he found a contemporary equivalent of the “primitive” in pueblo, living for a time with the Hopi. Along with naturalistic watercolors, his work stemming from this period is considered among the first modernist interpretations of Southwestern Indian customs. Some of these works were finished from sketches upon his return to New York, where he started to fully express the formalist experimentation of Cubism. In the summer of 1920, Matulka exhibited abstract paintings at Katherine Dreier’s Societe Anonyme along with Patrick Bruce, James Daugherty and Jay Van Everen. Through her largesse, he would have a one-man show in 1926 at the Art Center, 65 East 56th Street, but his thoughtless behavior led to her losing interest in his fortunes. Also upon his return to New York, he married Lida Jirouskova, a librarian whose literary connections led to illustration projects for Matulka. Studying lithography at the Art Students League in the mid-twenties solidified his understanding of graphic principles, and about half of his prints date from between 1925 and 1928. Working in black and white, Matulka developed an understanding of compositions based in shifting relationships of tonality – of contrast of dimension and design. This balance of the linear and the roughhewn characterize even the most colorful of his paintings. Matulka and his wife traveled to Paris in late 1919 or early 1920, and he established a studio in Paris that he kept until 1934. Meeting with the likes of Gertrude Stein, he stayed current with the tastes of the aesthetic elite, such as Diaghilev’s Ballet Russe. Many of his works from this time are reminiscent of Picasso’s mix of neo-classical monumental nudes...