Untitled
But gouache remains his favorite medium, because of its velvety texture, which most faithfully refers to plants. Not that he attaches himself to a simple and banal transcription of nature: what retains him rather is the analysis of structures, proportions, the games of a geometry of the plant. Another pole of attraction, as a corollary to the first: the light, the hours of the garden, which he observes meticulously and in which he participates as if by osmosis. The gouache is then for him the ideal tool to express the kind of puzzle of the structures and materials of the vegetation and the luminous color.- Duquette, J.-P. (1982). The return of Denys Matte. Life of the Arts, 27(107), 40–41
Denys Matte (1930 - 2019)
Untitled , 1978
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Gallery
Cosner Art Gallery - Montreal
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Medium
Mixed media
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Time
Post-War Canadian art
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Dimensions
101,6 x 68 cm | 40'' x 27''
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Dimensions with frame
115,57 x 82,5 cm | 45,5'' x 32,5''
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Signed
Signed and dated lower left
Denys Matte (1930 - 2019)
La part du lion, 1979
Denys Matte (1930 - 2019)
L'aigle à mille feux, 1964
Denys Matte (1930 - 2019)
L'oiseau Lyre, 1964
Denys Matte (1930 - 2019)
Untitled , 1962
Denys Matte (1930 - 2019)
Sans titre, 1964
Denys Matte (1930 - 2019)
Untitled , 1978
Denys Matte (1930 - 2019)
Summer Time, 1978
Denys Matte (1930 - 2019)
La césure jaune, 1964
Denys Matte (1930 - 2019)
Ces dames du bois de Boulogne, 1964