Roberto Matta

(Santiago Del Chile 1911Tarquinia 2002 ) - Artworks Wikipedia® - Roberto Matta
MATTA Roberto Je Fixe Des Vertiges (plate 1) From The Saison En Enfer Portfolio

Ro Gallery /Feb 26, 2015
2,225.35 - 2,596.25
Not Sold

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Variants on Artist's name :

Matta Echauren Roberto Sebastian A.

Matta Roberto Antonio Sebastian Echauren

Matta Roberto Sebastian

 

Artworks in Arcadja
3079

Some works of Roberto Matta

Extracted between 3,079 works in the catalog of Arcadja
Roberto Matta - Centre Noeuds

Roberto Matta - Centre Noeuds

Original 1974
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Lot number: 124
Other WORKS AT AUCTION
Description:
Roberto Matta Centre Noeuds , 1974 The complete set of ten etchings in colors, on Japanese nacré paper, with full margins, all I. 14 x 10 1/2 in. (35.6 x 26.7 cm) all S. 23 3/4 x 17 1/2 in. (60.3 x 44.5 cm) all signed and numbered 93/125 in pencil (from the suite which accompanied the edition of 125 and 30 hors commerce in Roman numerals), co-published by Editions Alexander Kahan, New York and Editions Georges Visat, Paris, all unframed.
Roberto Matta - Vus

Roberto Matta - Vus

Original 1997
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Lot number: 153
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Description:
Matta (1911-2002) VUS oil on paper laid on canvas 35 1/8 x 30 ¾in. (89.2 x 78.1cm.) Executed in 1997 Private Collection, Malta. Galería del Cisne, Madrid. Acquired from the above by the present owner, This work is accompanied by a certificate of authenticity signed by Madame Germana Matta Ferrari.
Roberto Matta - Untitled

Roberto Matta - Untitled

Original 1962
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Net Price
Lot number: 197
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Description:
Roberto Sebastian Matta (1911-2002) Untitled etching, 1962, signed in pencil, numbered 36/60, from The International Avant-Garde portfolio , on wove paper, with full margins, 145 x 113 mm (5 3/4 x 4 1/2 in) Modern & Contemporary Prints Thursday 26 March 2015, 10.00am Bloomsbury London Bloomsbury House 24 Maddox Street London W1S 1PP Viewing Sunday 22nd March 2015 11.00am-4.00pm Monday 23rd March 2015 9.30am-5.30pm Tuesday 24th March 2015 9.30am-5.30pm Wednesday 24 March 2015 9.30am-7.30pm Day of the sale from 9.30am
Roberto Matta - Je Fixe Des Vertiges (plate 1) From The Saison En Enfer Portfolio

Roberto Matta - Je Fixe Des Vertiges (plate 1) From The Saison En Enfer Portfolio

Original 1978
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Lot number: 194
Other WORKS AT AUCTION
Description:
Roberto Matta, Chilean (1911 - 2002) Je Fixe des Vertiges (plate 1) from the Saison en Enfer Portfolio 1978 Aquatint Etching, signed and numbered in pencil Edition: 75/100 Image 19 x 14 inches 26 in. x 20 in. (66.04 cm x 50.8 cm) 47-15 36th Street, Long Island City, New York, 11101, United States
Roberto Matta - Ouvrez C'est Nous

Roberto Matta - Ouvrez C'est Nous

Original 1957
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Gross Price
Lot number: 43
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Description:
Roberto Matta (Chilean/French, 1911-2002) Ouvrez c'est nous 1957 signed and dated 1957 ; signed and dated 57 on the reverse, titled and dated 1957 on the stretcher oil on canvas 116 by 145 cm. 45 11/16 by 57 1/16 in. Footnotes 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. Provenance Galleria d'Arte Narciso, Turin Private Collection, Turin Galleria La Bussola, Turin (no. 70902) Acquired directly from the above by the previous owner in 1974 Thence 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 arch-modernist. 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 strictures 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 , Arts Council of Britain, 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.
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