Matta-Duchamp

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es, en mathématiques, en philosophie, la morphologie de la forme, la rélativité, c’est tout le même problème.” [To paint the moment of change, change itself, I have devoted myself ceaselessly to this problem and I have watched this problem develop in science, in mathematics, in philosophy, the morphology of form, relativity, it’s all the same problem.” 11 ]. Matta had also absorbed the surrealists’ interest in alchemy, whose later connections with magic tarnished its credentials as a precedent to modern scientific discoveries. Nonetheless, scientists did recognise that alchemical “transmutation” was a parallel to what they preferred to call “transformation”, and Rutherford called his book on radioactivity The Newer Alchemy (1934). 12 From 1937, when he began seriously to commit himself as an artist, his drawings and paintings show an impulsive energy and dynamism. Throughout his life he sought confirmation in the physical and mental worlds, in nature and the imagination, of the links between inner and outer realities. This emphasis on morphology, on the potential of forms to shift and change, and the relationship with the 11. Matta Centre Pompidou Paris 1985 p. 266 12. Henderson p. 23. Scholars have, somewhat controversially, emphasised the rôle of alchemy in the work of both Matta and Duchamp, see eg Golan (op. cit) and Arturo Schwarz The Complete Works of Marcel Duchamp Thames & Hudson 1997. ( 22 )
Marcel Duchamp (1887-1968) Mariée, October 1937 Pochoir-colored reproduction and a French 5-centimes stamp on paper 34.0 x 19.7 cm 13.39 x 7.76 inches Signed and dated on the stamp “Oct 37 / M. Duchamp” Cat. rais. no. 456
Page 1: Dawn Adès Norman Rosenthal MATTA /
Page 5 and 6: It is an honor and pleasure to be w
Page 7: With this in mind we hope that our
Page 10 and 11: Phototype of a party gathering many
Page 12 and 13: of exile in New York during the 2 n
Page 14 and 15: possible de peindre le changement.
Page 16 and 17: Marcel Duchamp (1887-1968) Nu desce
Page 18 and 19: Swift Nudes, to revolutionise the c
Page 22 and 23: new ideas in non-Euclidean geometry
Page 24 and 25: chitectural diploma in Chile echoed
Page 26 and 27: when he visited the Soviet Union in
Page 28 and 29: in turn, the range of surfaces deve
Page 30 and 31: stand out for their startling conju
Page 32 and 33: man for woman, and leading to ecsta
Page 34 and 35: eturn to automatism in his 1939 Min
Page 36 and 37: declined, unwilling to mess up his
Page 38 and 39: the skin of beings and of things. T
Page 40 and 41: to grasp by looking at the painting
Page 42 and 43: By 1940 Matta had only been paintin
Page 44 and 45: ordinary daylight, and a different
Page 46 and 47: sterilised, the object seen from a
Page 48 and 49: the Pendu, the Hanged Man of the Ta
Page 50 and 51: young man, Matta is the most profou
Page 52 and 53: Roberto Matta (1911-2002) Eronisme,
Page 54 and 55: Installation view, First Papers of
Page 56 and 57: myth of “The Philosophers’ Ston
Page 58 and 59: would more likely be their incredib
Page 60 and 61: were tidied up for the published te
Page 62 and 63: very particular manner. It is as th
Page 64 and 65: some way sidetracked, utilised for
Page 66 and 67: Roberto Matta Les Roses sont belles
Page 69: “Yes. The first surrealist I met
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of many European artists and poets
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seemed then and seems now, perhaps
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He was also a figurative painter bu
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Communism was Matta’s intellectua
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Futurism is not that of the more fa
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ly celebratory of modern life By th
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ly interlocutor. Motherwell famousl
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um, then still perceived as the hig
Page 88:
of Richard Serra’s steel sculptur
Page 93:
Quotes: “Still a young man, Matta
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Matta-Duchamp

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