Mercedes Matter, born in New York City in 1913, stands as a compelling figure in 20th-century American art. As a painter, writer, and influential educator, Mercedes Matter, artistically nurtured from a young age, navigated the evolving landscape of abstract art, leaving an indelible mark through her own work and her profound impact on art education. Her life was deeply intertwined with the burgeoning New York art scene, shaped by familial artistic heritage and significant relationships with some of the era’s most prominent artists.
Matter’s artistic journey began under the tutelage of her father, Arthur B. Carles, a modernist painter who had studied with Matisse. Her mother, Mercedes de Cordoba, a model for Edward Steichen, further immersed her in a creative environment. This early exposure to art fostered her innate talent, leading her to formal studies at Bennett College and later in New York City with renowned artists like Maurice Sterne, Alexander Archipenko, and Hans Hofmann. These diverse influences shaped her foundational understanding of artistic principles and techniques.
In the late 1930s, Mercedes Matter became a founding member of the American Abstract Artists organization, a collective crucial in promoting abstract art in the United States. During this period, she also contributed to the Federal Works Progress Administration, collaborating with Fernand Léger on a mural project. Léger’s influence extended beyond this project, as he introduced her to Herbert Matter, a Swiss graphic designer and photographer. Their marriage in 1939 united two dynamic creative forces and placed them at the heart of the burgeoning New York art world.
The Matters were deeply embedded in the New York art scene, forging close friendships with pivotal figures such as Jackson Pollock, Lee Krasner, Franz Kline, Philip Guston, Alexander Calder, and Willem de Kooning. Their circle also included Alberto Giacometti, whose artistic philosophy deeply resonated with Mercedes Matter and who became a frequent subject in Herbert Matter’s photography. Giacometti’s influence is evident in Matter’s artistic approach, particularly in her dedication to form and line.
Driven by her experiences as an artist and educator, Matter penned a significant article for Art News in 1963, titled “What’s Wrong with U.S. Art Schools?”. In this piece, she critiqued the declining emphasis on prolonged studio classes, which she considered essential for cultivating an artist’s sensory perception and lifelong artistic development. This article sparked a pivotal moment in art education.
Inspired by Matter’s article, students from Pratt Institute urged her to establish a school based on her educational philosophy. This initiative led to the founding of the New York Studio School in 1964. Initially located in a loft in Broadway, the school quickly garnered support from prestigious foundations like the Kaplan Fund, the Rockefeller Brothers Fund, and the Ford Foundation. The New York Studio School distinguished itself by offering no degrees, focusing solely on studio classes, and prioritizing drawing from life. The faculty, chosen by the students themselves, comprised esteemed artists such as Guston, Bradley Walker Tomlin, Charles Cajori, Louis Finkelstein, and Sidney Geist, alongside art historian Meyer Schapiro and composer Morton Feldman, creating a rich and diverse learning environment.
The Matters’ residence on Macdougal Alley, where Herbert Matter had a studio, played a crucial role in the Studio School’s development. Herbert Matter envisioned the cluster of buildings housing his studio as an ideal location for the school. In 1967, the New York Studio School acquired these buildings from the Whitney family, further solidifying its presence in the New York art community and providing a permanent home for its unique educational approach.
Mercedes Matter’s artistic practice mirrored her teaching principles. She dedicated extensive periods, sometimes years, to her drawings and paintings. Her works often originated as still lifes, evolving into near-abstract compositions characterized by hatched lines, reflecting her admiration for Giacometti and Cézanne. Her commitment to process and her exploration of form solidified her reputation as a dedicated and thoughtful artist.
Beyond her art and teaching, Matter contributed to art discourse through articles on artists such as Hofmann, Kline, and Giacometti. She also authored the text for a book featuring Herbert Matter’s photographs of Giacometti, published in 1987, further cementing her scholarly contributions to the art world. Mercedes Matter’s multifaceted career as a painter, educator, and writer solidified her position as a significant figure in American art. Her dedication to abstract expression and her commitment to rigorous art education continue to inspire artists and educators alike.
