Matta-Duchamp
Illustrated catalog featuring full page color illustrations and rare documentary photographs. Published by Galerie Gmurzynska in June 2018 to accompany a special cabinet exhibition at Art Basel 2018. The book includes texts by Professor Dawn Adès and Norman Rosenthal. It coincides with a broader re-evaluation of the importance of Matta internationally as well as of the influence of Duchamp on the work of 20th century artists. Edited and introduced by Krystyna Gmurzynska and Mathias Rastorfer. Essays by Dawn Adès and Norman Rosenthal. Historic interview excerpt by Robert Motherwell. 90 pages with 7 illustrations. Softcover. ISBN: 978-3-905792-09-6
Illustrated catalog featuring full page color illustrations and rare documentary photographs.
Published by Galerie Gmurzynska in June 2018 to accompany a special cabinet exhibition at Art Basel 2018. The book includes texts by Professor Dawn Adès and Norman Rosenthal. It coincides with a broader re-evaluation of the importance of Matta internationally as well as of the influence of Duchamp on the work of 20th century artists.
Edited and introduced by Krystyna Gmurzynska and Mathias Rastorfer.
Essays by Dawn Adès and Norman Rosenthal.
Historic interview excerpt by Robert Motherwell.
90 pages with 7 illustrations.
Softcover.
ISBN:
978-3-905792-09-6
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Passages between <strong>Matta</strong> and <strong>Duchamp</strong><br />
<strong>Matta</strong> made no secret of his admiration for Marcel<br />
<strong>Duchamp</strong>, which began even before he became an artist<br />
himself, and lasted for the rest of his life. His response<br />
to <strong>Duchamp</strong> was unusual and personal. Rather than<br />
the readymades, it was <strong>Duchamp</strong>’s paintings, and the<br />
Large Glass, La mariée mise à nu par ses célibataires,<br />
même (The Bride Stripped Bare by her Bachelors, even)<br />
(1915-23), that had a profound effect on him. “Ce ne<br />
fut pas le caractère iconoclaste des ready-mades … qui<br />
fascina <strong>Matta</strong>, mais la nouvelle notion de “passage” selon<br />
<strong>Duchamp</strong>.” 1 He paradoxically found in <strong>Duchamp</strong>’s<br />
concept of “passage” in painting, and in his rejection<br />
of the retinal, liberation for his own painting practice.<br />
An interest in the new physics, and a natural bent<br />
for metaphor and analogy had provided <strong>Matta</strong> with a<br />
strong base from which to appreciate <strong>Duchamp</strong>’s sophisticated<br />
and brilliant syntheses of science and sex.<br />
The two men were particularly close during the period<br />
1. Romy Golan “<strong>Matta</strong>, <strong>Duchamp</strong> et le mythe: un nouveau paradigme<br />
pour la dernière phase du surréalisme” <strong>Matta</strong> Centre Pompidou Paris 1985<br />
p.38<br />
( 11 )
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