M A T T AMAY 8 - JUL 31, 2019

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MATTAMAY 8 - JUL 31, 2019

MATTA [Chilean 1911-2002]Physical MorphologyOil on canvas18 x 26 In. [45.7 x 66.1 Cm.]Painted in 1938 PROVENANCEJulian Levy Gallery, New YorkRichard Feigen Gallery, New YorkRichard Feigen Gallery, ChicagoPaul Kantor Gallery, Beverly HillsMaxwell Davison Gallery, New YorkMary-Anne Martin Fine Art, New YorkSale: Christie’s New York Latin American Paintings, Drawings and Sculpture, May 1-2, 1990, Lot 6 illustratedGary Nader Art Centre, Miami, Fl

Matta, Trevignon, Verano 1938Morfologias piscologicas: inventar equivalencias visuales en las diversos estados de conciencia. Me niego a aceptar que una yuxtaposicion de imagenes-recibidas-, por sorprendente que resulte el efecto de ciertas aproximaciones-collages-, pueda verdaderamente dar cuenta de lo que experimentamos en una situacion psicologica dada. Quiero una morfologia que no se detenga en la silueta, en la piel de los seres y de las cosas. La imagen de un arbol no es la masa de verdor en torno al tronco que se destaca con mas o menos presicion y gracia sobre un Fondo de color. Esta imagen es para nosotros todo lo que realmente sabemos de la semilla, la germinacion, la brusca eclosion de los brotes, la sombra que puede proporcionar el arbol, la imagen de infinita tristeza que presenta, desnudo, una noche de invierno, y tambien todo lo que la palabra-arbol-puede traer al campa de nuestra canciencia coma imagenes emotivas, muchas de las cuales sin embargo nada tienen que ver con la imagen de un arbol, pero que no obstante necesitan la presencia de dicha imagen para exisitir. Como siempre, los movimientos de la sensibilidad casan con los de la existencia, es decir, se desarrollan paralelamente al despertar de la conciencia def mundo.

De este modo, el grafismo de la idea de una bola de nieve proyectada sabre una llama sera un desdoblamiento sin deformacion, mientras que la libido emocional que despierta un rio o un arbol se epxresara mediante un crecimiento osmatico en el media geodesico psicologico, verdadera gelatina de leche manchada de sangre en precipitado periodico.

Matta, Trevignon, Summer 1938Physical Morphology: to invent visual equivalencies between the different states of consciousness. I do not accept that a juxtaposition of images (received), as surprising as the resulting effect of certain approximations (collages) could truly tell of one experience in a given psychological situation. I want a morphology that does not stop in the silhouette, in the skin of beings and things. The image of a tree is not the mass of green around the trunk, that highlights with more or less precision and grace against a colored background. For us, this image is all that we know about the seed, germination, the brusque explosion of the sprouts, the shadow that the tree can provide; the image of endless sadness that it presents, naked, on a winter night and also all that the word-tree-can bring to the field of our consciousness as emotive images. Even though a lot of them have nothing to do with the image of a tree, they need the presence of this image to exist. As always, the movements of sensibility marry with those of existence: they developed in a parallel way as the world’s consciousness awakens.

Thus, the graphicism of the idea of a snowball projected towards a flame will be an out of body experience without deformation, while the emotional libido that awakens a river or a tree will be expressed through the osmotic growth in a geodesic physiological medium, really milk gelatin swiftly stained with blood.

MATTA [Chilean 19112-2002] Morphologie psychologique de l’AttenteOil on canvasSigned Matta lower left28 x 35 7/8 in. [71 x 91 cm.] Painted in 1938

PROVENANCEGordon Onslow-Ford Collection Paul Kantor Gallery, Beverly Hills Donn Schapiro, Chicago Richard Gray Gallery, Chicago & New York Sale: Sotheby’s, New York, 19th November 2003, lot 10 Private Collection, New York Acquired from the above by the present owner

EXHIBITIONChicago, Museum of Contemporary Art, In the Mind’s Eye: Dada and Surrealism in Chicago Collections, 1986, n.n. Los Angeles, Museum of Contemporary Art; Miami, Miami Art Museum; Chicago, Museum of Contemporary Art, Matta in America: Paintings and Drawings of the 1940s, 2001-02, n.n. (titled Psychological Morphology)

“One of our youngest friends, Matta Echauren, is now at the helm of a dazzling pictorial production. With him […] there is nothing ordered, and nothing which is not the result of a desire to deepen the faculty of divination through colour, a faculty in which he is exceptionally talented. Every one of the paintings Matta has executed during the last year is a celebration where all the odds come together, a pearl which snowballs, incorporating everything which glimmers, both physical and mental.” André Breton, Minotaure, no. 12-13, 1939It was in 1938 that Matta invented the concept of “psychological morphology”. The young artist had been living in Paris for four years, at one point working in Le Corbusier’s studio. It was during his participation in the creation of the Pavilion of the Spanish Republic for the Universal Exhibition of 1937 that he met Picasso and Esteban Francès. It was through the intermediary of the latter that Matta was introduced to Salvador Dalí and then André Breton, who integrated him into the Surrealist group.At the same time, Matta was also becoming friends with the British painter Gordon Onslow-Ford, who would become one of his most fervent admirers. It was whilst staying with Onslow-Ford in Switzerland during the summer of 1938 that Matta – who had limited himself artistically to drawing up until this point – first experimented with oil painting, as Onslow-Ford recalled: “*…+ he put little spots of yellow, red, green and blue on the edge of a palette knife. Then, without hesitation, he made a rapid gesture on the blank canvas and, since he did not want to use clean brushes, he worked the paint using his fingers, one for the yellow, another for the red, etc. And so he spread out the paint, mixing the colours on the canvas. This technique remained the basis for his oil paintings for several years, even if he eventually replaced his fingers with paintbrushes. This first action of Matta’s with oil paint has had repercussions that lasted until the New York years in the 1940s.” (G. Onslow-Ford, ‘Notes sur Matta et la peinture (1937-1941)’, Matta (exhibition catalogue), Paris, Musée national d’art moderne, 1985).Morphologie psychologique de l’attente is thus one of the very first oils painted by Matta, only a few months after his discovery of the medium. A self-taught artist without any formal training, he possessed such an intuition for colour and texture and such a strong sense of structure that his contemporaries were transfixed. From the time of his very first paintings of 1938, he creates a universe of line, form and colour which sublimates the surroundings; applying the colour directly to the canvas without reflection or any preliminary sketching in accordance with the principles of Surrealist automatism.The notion of ‘psychological morphology’, of which the present work is one of the most remarkable illustrations, lies at the heart of Matta’s art. The artist first employs this term in autumn 1938 whilst at Les Deux Magots in the company of André Breton who asked him to put his theory into writing. Which is what Matta did not long afterwards in his text ‘Morphologie psychologique’ (1938), in which he notably affirms that “in the domain of the conscience, a psychological morphology would be a graph of ideas” which should be conceived of “before optical images provide form for ideas, if one wants to remain at the centre of the transformation” (cited in G. Ferrari, Matta. Entretiens morphologiques – Notebook No. 1, 1936-1944, London, 1987). In other words, according to Matta,the eye only perceives a fraction of the reality. Through his art, Matta does not seek only to represent what is visible. On the contrary, he aspired to depict the interior landscape, to “invent visual equivalents for the diverse states of consciousness”, which is to say to extend the field of the conscience beyond sensorial perception. What interests him is not what this is, but rather the state of transformation, of perpetual change, the moment when an object passes from its primordial appearance to its definitive form. In a single image, he seeks to capture the conception, birth, life and death of a being, to make visible both the microcosm and the macrocosm. In doing so, Matta can be considered one of the very first artists to venture beyond the realm of dreams. As Gordon Onslow-Ford concludes (op. cit.), “we have taken it upon ourselves to find the means of seeing through a mountain, extending ourselves out to the horizon, forcing ourselves into the ground, touching the sky, seeing someone in their entirety - from birth to death - within a single unique form, discovering the invisible relationships between one thing and another, giving form to the cause and effect of a phenomenon, and crossing surfaces in order to penetrate the diaphanous world of love”. Between the autumn of 1938 and the end of 1939, Matta painted eight of these Morphologies, each one aspiring to reveal what is to be found beyond dreams, that which the human eye is incapable of seeing.

the eye only perceives a fraction of the reality. Through his art, Matta does not seek only to represent what is visible. On the contrary, he aspired to depict the interior landscape, to “invent visual equivalents for the diverse states of consciousness”, which is to say to extend the field of the conscience beyond sensorial perception. What interests him is not what this is, but rather the state of transformation, of perpetual change, the moment when an object passes from its primordial appearance to its definitive form. In a single image, he seeks to capture the conception, birth, life and death of a being, to make visible both the microcosm and the macrocosm. In doing so, Matta can be considered one of the very first artists to venture beyond the realm of dreams. As Gordon Onslow-Ford concludes (op. cit.), “we have taken it upon ourselves to find the means of seeing through a mountain, extending ourselves out to the horizon, forcing ourselves into the ground, touching the sky, seeing someone in their entirety - from birth to death - within a single unique form, discovering the invisible relationships between one thing and another, giving form to the cause and effect of a phenomenon, and crossing surfaces in order to penetrate the diaphanous world of love”. Between the autumn of 1938 and the end of 1939, Matta painted eight of these Morphologies, each one aspiring to reveal what is to be found beyond dreams, that which the human eye is incapable of seeing.This quest was nourished by numerous influences, both scientific and artistic. Matta was notably fascinated by the recent evolutions in science and mathematics, and in particular Albert Einstein’s revolutionary concept of space and time and the writings of Peter D. Ouspensky (author of Tertium Organum) which proved the limits of visual perception and the deficiencies of tri-dimensional geometry. He was also very interested in the development of psychoanalysis, certain concepts of which inspired his iconography.From a stylistic point of view, Matta’s first paintings are certainly influenced by his friendships with other artists in the Surrealist group, particularly Dalí, Duchamp and, above all, Tanguy whose work he admired greatly. In Morphologie psychologique de l’attente, Matta’s organic forms, colour range, and even the presence of swirling clouds and black suns owe much to the artistic innovations of the older artist. Matta already goes further than his mentor, inscribing his work into an unprecedented cosmic concept. Here, the different layers of paint conjure an atmospheric perspective and spatial realms which are interspersed with divergent trailing lines and enigmatic obstacles, suggesting both the immensity of the cosmos and the obscure recesses of the psyche. Forms emerge from the canvas before seemingly dissolving between the darkness and light; a metaphor for the multiplicity inherent in space and time which so fascinated Matta. From his very first paintings, Matta creates a system of representation that is completely new and entirely personal, seeming to dive into the depths of the unconscious like no one else before.Morphologie psychologique de l’attente is a visionary work which presages the innovations that will lead Matta to become the champion of automatic gestural painting a few years later, influencing a new generation of artists including Robert Motherwell, Jackson Pollock and Arshile Gorky. Poetic and prophetic, it is undoubtedly one of the ‘pioneering paintings’ that Gordon Onslow-Ford, the first owner of this very work, so admired (op. cit.): “Matta’s paintings […] are the direct expressions of the mind onto canvas. They are works of pure genius, into which no personal desire enters, nor one critical thought. Those who discover the world through his paintings […] will see their lives enriched, like mine has been, by a permanent joy. Modern art, in the sense that it is a manifestation of a consciousness that is deeper than the sky, the earth and man, is still only just at its beginning and is moving towards a new way of LIVING SEEING. Matta’s pioneering paintings have opened the gateway”.

MATTA [Chilean 19112-2002] UntitledOil on canvas45 x 57 1/8 in. [114.3 x 145.1 cm.] Painted in c.1946

PROVENANCEAcquired from the artist Ramuntcho Matta, ParisThe Pace GalleryPrivate Collector, MiamiGary Nader Art Centre, Miami, FL

EXHIBITIONMatta: Five Decades of Painting—Works from the Collections of Federica and Ramuntcho Matta, PaceWildenstein, New York, January 30–February 28, 2009. Illustrated in catalogue, p. 16.

LITERATURE Matta: Five Decades of Painting—Works from the Collections of Federica and Ramuntcho Matta (exhibition catalogue). Text by Martica Sawin. New York: PaceWildenstein, 2009: 16, illustrated.Rosenberg, Karen. “Art in Review: Matta, Five Decades of Painting” (exhibition review). The New York Times, 13 February 2009: C32.“Galleries—Uptown: Matta” (PaceWildenstein exhibition review). The New Yorker, 2 March 2009: 11.Mac Adam, Alfred. “Reviews: New York—Matta” (PaceWildenstein exhibition review). Art News (April 2009): 107.“Special Focus: Reviews Marathon, New York—Matta, Five Decades of Painting” (PaceWildenstein exhibition review). Art Review (April 2009).

MATTA [Chilean 19112-2002] La Rivière M’Om Oil on canvas55 7/8 x 57 7/8 in. [142 x 147 cm.] Painted in 1947

PROVENANCEUrvater Collection , Brussels, Belgium. Malingue Gallery, Paris France.Gary Nader Art Centre, Miami, FL

LITERATURE Temmerman, Danièle de, Jacqmain, André, Langui, Emile, Roberts-Jones, Philippe, Alechinsky, Pierre, Urvater, Histoire d’une collection, Oostkamp, Stichting Kunstboek, 2013, pp. 130 (ill. en couleurs), 212, n°112 ;L’oeuvre a pris place dans les dossiers préparatoires au catalogue raisonné de l’oeuvre de Matta, par Germana Ferrari, sous le n°63/103.

MATTA [Chilean 19112-2002] Untitled Oil on canvas78 x 82 in. [198.1 x 208.3 cm.] Painted in 1950

PROVENANCEChristie’s New York, November 2001 / Galerie Patrice Trigano, Paris / Private Collcetion Geneva / Christie’s New York, Sale 2-3/06/1999, Lot 59 / Scott White Contemporary Art, San Diego California / Gary Nader fine art, Miami, FL.Gary Nader Art Centre, Miami, FL

EXHIBITIONLondon, Institute of Contemporary Art, 1952, n.n. / St. Etienne, Musée de Saint Etienne, “L’Art en Europe”, 10/09-28/02/1988 / Fréjus , Foundation Daniel Templon, Musée Temporaire, “L’ Art en France 1945-1990”, 03/07-16/09/1990. /Matta. A Retrospective. Gary Nader fine art, Dec. 2009-Jan.2010

LITERATURE “L’ Art en Europe”, Ed. Saint Etienne, 1988, p.107 / Matta. A Retrospective. Gary Nader fine art, Dec. 2009-Jan.2010, Gary Nader Editions, ill. in color.

MATTA [Chilean 1911-2002]CompositionOil on fabric42 3/8 x 57 1/8 In. [107.6 x 145.1 Cm.]Painted in 1953 PROVENANCEGary Nader Art Centre, Miami, FL

EXHIBITIONMatta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009

LITERATURE Matta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009, Gary Nader Editions, illustrated in colo

MATTA [Chilean 1911-2002]Sans titreOil on fabric40 1/8 x 33 1/8 In. [101.9 x 84.1 Cm.]Painted in 1955 PROVENANCEGary Nader Art Centre, Miami, FL

EXHIBITIONMatta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009

LITERATURE Matta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009, Gary Nader Editions, illustrated in color.

MATTA [Chilean 1911-2002]Les BoxeursOil on canvas34 5/8 x 45 5/8 In. [87.9 x 115.8 Cm.]Painted in 1955 PROVENANCEGary Nader Art Centre, Miami, FL

EXHIBITIONMatta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009

LITERATURE Matta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009, Gary Nader Editions, illustrated in colo

MATTA [Chilean 1911-2002]Sans titreOil on fabricSigned and dated on the reverse40 7/8 x 31 In. [103.9 x 78.7 Cm.]Painted in 1956 PROVENANCEGary Nader Art Centre, Miami, FL

EXHIBITIONMatta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009

LITERATURE Matta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009, Gary Nader Editions, illustrated in colo

MATTA [Chilean 1911-2002]Ouvrez c’est nousOil on canvasSigned and dated 1957; signed and dated ‘57 on the reverse, titled and dated 1957 on the stretcher45 11/16 x 57 1/16 in. [116 x 145 cm.]Painted in 1957 This work is registered in the Archives de l’Oeuvre de Matta, Tarquinia/ Paris, under no. 57/41, and is accompanied by a photo-certificate of authenticity from Germana Matta Ferrari. PROVENANCEGalleria d’Arte Narciso, TurinPrivate Collection, TurinGalleria La Bussola, Turin (no. 70902)Acquired directly from the above by the previous owner in 1974Thence by descent to the present owner

It is hard to place Chilean-born Roberto Sebastian Antonio Matta Echaurren, better known simply as Matta, in any particular school or movement. He is often identified as a surrealist, and certainly made extensive use of their innovative technique of ‘automatism’, but his distinctive style is very different to the warped realities of Dalí or de Chirico. He moved to Paris in 1933, and spent three years working in the studio of architect Le Corbusier, but Matta was no archmodernist. He spent most of the 1940s in New York, where his work attracted interest from the new generation of emerging painters, including Motherwell, Pollock and Rothko, but he was certainly not an Abstract Expressionist. Although Matta shared the revolutionary spirit of many of the artists of the period whose desire to break free from the structures of Cubism resulted in a period of radical experimentation never seen before, or arguably since, his instinctive use of space and form distinguishes him as an extraordinary, unequalled talent. Ouvrez c’est nous of 1957 dates from a period when Matta returned from the United States to Europe, and was based at a studio in Rome, producing his most confident work. The dreamlike qualities for which he is celebrated are demonstrated here: soft, ephemeral colours and indistinct washes of tone presenting a space which is strangely ambiguous. “Painting always has one foot in architecture, one foot in the dream” (the artist in: Matta: The Logic of Hallucination, London 1984, p. 5). In this painting, elements of architecture with linear constructions whose transparency is at odds with their apparent solidity float like crystalline satellites in a hypnagogic netherworld, silent and totemic. Reminiscent of space age technology, these curious structures are surrounded by a seething mass of biomorphic forms which cluster around a globe of glowing embers, creating a relationship which is both confusing and captivating. Ouvrez c’est nous, 1957 presents a moment of flux, of impending drama, but this is a flashpoint which will forever remain unexplained, undefined, obscure. Matta himself saw the creation of a “new space, a space of feeling” as one of his primary aims. Ouvrez c’est nous, 1957 presents us with Matta’s unique vision of this new space, a mystical place filled with tensions, ambiguities and contradictions. Despite his position at the heart of the artistic community during a period now identified as one of the most important for the development of twentieth-century art, Matta was a man alone, an artist who defied classification. Like the artist himself, this is a painting that refuses to be pigeon-holed. Challenging yet engaging, complex yet enigmatic, it asks more questions than it answers. Like all great works of art, Ouvrez c’est nous, 1957 is ambitious, demanding and undeniably timeless.

MATTA [Chilean 1911-2002]Preuve d’amourOil on canvasSigned on the bottom lower right, resigned, titled and numbered ‘211’ on the revers31 7/8 x 39 3/8 In. [81 x 100 Cm.]Painted in 1958-59 ca. PROVENANCEGary Nader Art Centre, Miami, FL

EXHIBITIONMatta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009

LITERATURE Matta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009, Gary Nader Editions, illustrated in colo

MATTA [Chilean 1911-2002]Dar a luz un mundoOil on canvas79 1/2 x 118 In. [201.9 x 299.7 Cm.]Painted in 1960 This painting was executed in celebration of the birth of the artist’s son.This work is accompanied by a certificate of authenticity signed by Germana Matta Ferrari, dated 6 October 2016.

PROVENANCERamuntcho Matta, Paris (acquired from the artist).Anon. sale, Christie’s, New York, 28 May 1997, lot 37 (illustrated in color, sold after sale).latincollector, New York. Gary Nader Art Centre, Miami, FL

EXHIBITIONDüsseldorf, Kunsthalle, Roberto Matta, Nov. 1963 - Jan. 1964.Saint-Denis, Musée Saint Denis, Roberto Matta, 1969, no. 11 (illustrated).Washington, D.C., Art Museum of the Americas, Organization of American States, Roberto Matta, Architect of Surrealism, 19 November 2003-7 March 2004, p. 17, no. 2 (illustrated in color). Matta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009

LITERATURE Matta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009, Gary Nader Editions, illustrated in color.

MATTA [Chilean 1911-2002]Sans titreOil on canvas26 3/4 x 32 5/8 In. [68 x 82.9 Cm.]Painted in 1960 ca. PROVENANCEGary Nader Art Centre, Miami, FL

EXHIBITIONMatta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009

LITERATURE Matta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009, Gary Nader Editions, illustrated in colo

MATTA [Chilean 1911-2002]Repondre du LimiteOil on canvasSigned with the artist’s monogram (lower right); titled ‘repondre du limite’ (on the reverse)45 7/8 x 58 7/8 In. [116.5 x 149.6 Cm.]Painted in 1961 This work is sold with a certificate of authenticity signed by Germana Matta Ferrari, dated August 1990, and is registered in the Matta Archives under no. 61/23. PROVENANCEGalleria Medea, Milan.Trona Collection, Turin.Galleria Narciso, Turin.Galleria La Bussola, Turin.Acquired from the above by the present owner circa 1965. Sale 5539 , Lot # 268Post-War and Contemporary Art Day Auction 28 June 2012, London, King StreetGary Nader Art Centre, Miami, FL

EXHIBITIONTurin, Galleria La Bussola, Omaggio a Matta, 1971, no. 3 (illustrated, unpaged).Matta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009

LITERATURE Matta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009, Gary Nader Editions, illustrated in color.

MATTA [Chilean 1911-2002]Sans titreOil on canvasSigned lower right44 7/8 x 57\ 1/2 In. [114 x 146 Cm.]Painted in 1960-62 ca. PROVENANCEGary Nader Art Centre, Miami, FL

EXHIBITIONMatta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009

LITERATURE Matta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009, Gary Nader Editions, illustrated in colo

MATTA [Chilean 1911-2002]The JoyOil on canvas32 x 39 In. [81.3 x 99.1 Cm.]Painted in 1963 PROVENANCEGary Nader Art Centre, Miami, FL

EXHIBITIONMatta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009

LITERATURE Matta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009, Gary Nader Editions, illustrated in color.

MATTA [Chilean 1911-2002]Les OrienteurOil on canvasSigned, titled and dated Matta, Les Orienteur, 1964 lower right45 x 57 1/8 in. [114.3 x 145.1 Cm.]Painted in 1964 PROVENANCEPrivate Collection, MiamiGary Nader Art Centre, Miami, FL

MATTA [Chilean 1911-2002]Fuit la fuiteOil on canvas59 x 70 In. [149.9 x 177.8 Cm.]Painted in 1965-66 PROVENANCEGary Nader Art Centre, Miami, FL

EXHIBITIONMatta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009

LITERATURE Matta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009, Gary Nader Editions, illustrated in color.

MATTA [Chilean 1911-2002]Sans titreOil on canvas42 x 33 In. [106.7 x 83.8 Cm.]Painted in 1965-67 PROVENANCEGary Nader Art Centre, Miami, FL

EXHIBITIONMatta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009

LITERATURE Matta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009, Gary Nader Editions, illustrated in color.

MATTA [Chilean 1911-2002]Rivalida la RivalitaOil on canvasSigned lower right40 1/8 x 38 3/8 In. [102 x 97.5 Cm.]Painted in 1976 PROVENANCEGary Nader Art Centre, Miami, FL

EXHIBITIONMatta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009

LITERATURE Matta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009, Gary Nader Editions, illustrated in colo

MATTA [Chilean 1911-2002]Expression PerdueOil on canvasSigned lower right77 7/8 x 72 7/8 In. [198 x 185 Cm.]Painted in 1985 PROVENANCEGary Nader Art Centre, Miami, FL

EXHIBITIONMatta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009

LITERATURE Matta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009, Gary Nader Editions, illustrated in colo

MATTA [Chilean 1911-2002]Le Son du SoupconOil on canvasSigned lower right, titled on the reverse77 7/8 x 84 5/8 In. [198 x 215 Cm.]Painted in 1985 PROVENANCEGary Nader Art Centre, Miami, FL

EXHIBITIONMatta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009

LITERATURE Matta: A Retrospective, Gary Nader Art Centre, Miami, FL, December 2009, Gary Nader Editions, illustrated in color.

E D I T I O N S