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Student Artwork Guide

Les Oh! Tomobiles

Name Class Date

Roberto Matta, Les Oh! Tomobiles (1972), Inter-American Development Bank. Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Roberto Matta originaluniqueart.com/en/artists/roberto-matta/
Artist’s dates
1911 – 2002
Painted
1972
Medium
Etching Lines bitten into a metal plate with acid, which lets the artist draw as freely as with a pen.
Movement
Surrealism Dream logic painted with waking precision: impossible things shown as if they were ordinary.
Held at
Inter-American Development Bank originaluniqueart.com/en/museums/inter-american-development-bank-washington-d-c/
Artistic style
Surrealist
Subject or theme
Airplanes, cars, people

In context

Les Oh! Tomobiles — Roberto Matta

When was this painted?

  1. 1910
  2. 1920
  3. 1930
  4. 1940
  5. 1950
  6. 1960
  7. 1970
  8. 1980
  9. 1990
  10. 2000

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 91 at death.

Painted when the artist was 61. The artist lived to 91. 9 of the 11 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Roberto Matta (1911–2002) ▲ this work, 1972 every dated painting, decade by decade

First works: up to 1939 Main working years: 1939–1952 Late works: from 1952

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/roberto-matta-les-oh-tomobiles-D48CEU-en/

Colours

Measured from the image

    Main colour

    Celadon #c2bfa9

    Catalogued palette

    • #C2BFA9
    • #564334
    • #98896F
    • #E6EBE5

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Celadon
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Bold How much the colours differ in lightness and saturation across the picture.
    Harmony
    Balanced Harmony How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Roberto Matta over the last twelve months — 3 countries in all. Where these figures come from

    The ten leading countries

    1. 1 United States of America 62.5%
    2. 2 China 18.8%
    3. 3 United Kingdom 18.8%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 8 most looked-at works by Roberto Matta

    1. 1 The Disasters of Mysticism, 1942 42.5%
    2. 2 Being With (Être Avec), 1946 37.5%
    3. 3 Verbo América, 1997 7.5%
    4. 4 The Composition with Green Tones, 1939 2.5%
    5. 5 Les Oh! Tomobiles, 1972 this painting 2.5%
    6. 6 The Spherical Roof Around our Tribe (Revolvers), 1952 2.5%
    7. 7 The Onyx of Electra, 1944 2.5%
    8. 8 Untitled, 1949 2.5%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 12 works by this artist, of which 8 were looked at at least once. This painting ranks 5 of them, with 2.5% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Les Oh! Tomobiles — Roberto Matta

    A Surreal Journey Through Modern Movement

    Roberto Matta’s "Les Oh! Tomobiles" immediately plunges the viewer into a dreamscape of mechanical whimsy and collective motion. This arresting black and white etching is not merely a depiction of objects in transit; it is a visual symphony capturing the restless energy of the mid-20th century, filtered through the profound lens of Surrealism. The composition itself feels like a captured moment from a feverish parade—a collision between the grounded reality of automobiles and the ethereal flight of makeshift aircraft. Matta masterfully juxtaposes these elements, forcing us to question what constitutes 'real' movement or structure in the modern psyche.

    Technique and Textural Depth

    The choice of etching as a medium lends an inherent graphic intensity to the work. In this monochromatic rendering, Matta utilizes the deep blacks and stark whites characteristic of printmaking to build incredible textural depth. One can almost feel the grit of the etched lines, the weight of the imagined cardboard wings, and the smooth, curved surfaces of the vehicles below. This technical brilliance allows the seemingly disparate elements—the people, the cars, the planes—to cohere within a single, vibrating plane. It is a testament to Matta’s skill in transforming complex visual narratives into a tangible, enduring print.

    Symbolism of the Tomobiles

    The title itself, "Les Oh! Tomobiles," hints at an almost childlike exclamation accompanying these strange contraptions. Symbolically, the piece speaks volumes about humanity's relationship with progress and technology. The automobiles suggest structured, predictable journeys—the established paths of society. Conversely, the paper-like airplanes evoke improvisation, sudden bursts of unburdened flight, or perhaps even the fragility of utopian ideals. Matta invites us to consider the tension between our engineered routines and our innate desire for soaring freedom. Are these 'tomobiles' a commentary on the over-mechanization of modern life, or are they simply joyful acknowledgments of human ingenuity?

    Historical Echoes and Emotional Resonance

    Created in 1972, this work carries the weight of post-war anxieties while retaining the visionary spirit nurtured during his formative years with Surrealist masters. Matta’s art has always been deeply psychological, exploring the subconscious landscape where logic dissolves. When viewing "Les Oh! Tomobiles," one doesn't just observe; one participates in a shared moment of bewildered wonder. It evokes a feeling—a potent blend of nostalgia for an imagined simpler time and the exhilarating vertigo of possibility. For collectors and designers alike, this piece offers more than mere decoration; it provides a focal point for contemplation, injecting intellectual dynamism into any space.

    Artist and museum

    Artist

    Roberto Matta

    Born in Santiago, Chile

    Roberto Matta: A Surrealist Visionary

    Born: November 11, 1911, Santiago, Chile

    Died: March 23, 2002, Civitavecchia, Italy

    Roberto Sebastián Antonio Matta Echaurren, known as Roberto Matta, was a Chilean painter and architect who significantly impacted abstract expressionism and surrealist art. His journey from architecture student to influential artist reflects a profound exploration of the subconscious mind and a unique artistic vision.

    Early Life and Artistic Development

    Education: Studied architecture at the Pontificia Universidad Católica de Chile, graduating in 1935.

    European Influences: Travels to Europe exposed him to prominent artists like René Magritte, Salvador Dalí, André Breton, and Le Corbusier, shaping his artistic style.

    Surrealist Engagement: Became a key figure within the Surrealist movement, embracing its exploration of dreams, the subconscious, and challenging conventional reality. His work was heavily influenced by Sigmund Freud's psychoanalytic theories.

    Key Artistic Characteristics and Influences

    Biomorphic Forms: Matta’s paintings are characterized by organic shapes and forms reminiscent of living organisms, a hallmark of his style.

    Psychological Landscapes: His works often depict dreamlike landscapes that evoke psychological states and emotions.

    Abstract Expressionism: While rooted in Surrealism, Matta's work significantly contributed to the development of Abstract Expressionism through its emphasis on gesture, color, and emotional expression. He collaborated with artists like Mark Rothko and Jackson Pollock.

    Modernismo Influence: His connection to the Modernismo art movement is evident in his use of Latin and Greek mythology and medieval verses.

    Major Works and Political Engagement

    Notable Paintings: Being with, Invasion of the Night, and Verbo América are among his most recognized works.

    Mural "The First Goal of the Chilean People": A large-scale mural painted in 1973 was later covered by the military regime of Augusto Pinochet. It was rediscovered and restored in 2008, now displayed at La Granja City Hall. This work demonstrates his political engagement and commentary on social issues.

    Ceramic Vessels: Matta also explored ceramic art, creating vessels with surrealist imagery and ancient motifs (as seen in "Senza titolo").

    Legacy and Historical Significance

    Influence on Subsequent Artists: Matta’s innovative use of color, form, and psychological themes inspired generations of artists.

    Museum Recognition: His works are held in prestigious collections including the Museum of Modern Art (MoMA) in New York City and the Butler Institute of American Art.

    Continued Relevance: Matta’s exploration of the subconscious mind, his blending of surrealism and abstraction, and his engagement with political themes continue to resonate with contemporary audiences.

    Museum

    Inter-American Development Bank

    On show in Washington, D.C., United States of America

    A Vibrant Tapestry of Latin American Voices: Exploring the Inter-American Development Bank ArtLAC Gallery

    Nestled within the imposing headquarters of the Inter-American Development Bank in Washington, D.C., lies a surprisingly intimate and profoundly moving space – the ArtLAC Gallery. More than just a collection of artworks, it’s a deliberate attempt to bridge the gap between economic development, cultural expression, and social progress, offering a unique lens through which to view the complexities of Latin America and the Caribbean. Established initially as a cultural center fostering understanding between the U.S. and its neighbors, the gallery has evolved into a dynamic showcase for contemporary art, reflecting not just aesthetic beauty but also critical narratives surrounding development, identity, and the challenges faced by the region.

    The gallery’s strength resides in its carefully curated selection of over 2,000 pieces, primarily focusing on works created within the last few decades. You won't find grand historical masterpieces here; instead, you’ll encounter a vibrant spectrum of styles and mediums – from bold, geometric paintings by Omar Carreño Rodríguez, whose work echoes the energy of Venezuelan modernism, to the evocative photographic portraits of Virginia Patrone, capturing the nuanced beauty and resilience of Uruguayan life. The collection is deliberately diverse, encompassing sculptures that grapple with themes of displacement and memory alongside installations that invite contemplation on social justice issues. Photography plays a particularly prominent role, offering powerful glimpses into the realities of daily life – from poignant depictions of urban landscapes to striking documentation of political movements.

    Architectural Harmony: A Reflection of Values

    The ArtLAC Gallery’s location within the IDB building itself is integral to its identity. Designed by renowned architect Carlos Zapata, the structure embodies a thoughtful balance between functionality and aesthetic sensibility. The architecture isn't overtly flashy; rather, it speaks to a quiet dignity and understated elegance – qualities that mirror the gallery’s approach to art. Zapata masterfully incorporated elements inspired by Latin American design traditions, creating a space where modern lines are softened by warm materials and natural light. The building’s open layout encourages exploration and interaction, fostering a sense of connection between the artwork and its surroundings. It's a deliberate choice, reflecting the IDB’s commitment to supporting sustainable development and cultural preservation within the region.

    Bridging Art and Development: A Core Mission

    What truly distinguishes the ArtLAC Gallery is its unwavering focus on connecting art with broader societal issues. The gallery doesn’t simply display beautiful objects; it uses them as a catalyst for dialogue and understanding. Exhibitions frequently explore themes of social progress, cultural identity, and regional challenges – often presenting complex narratives that invite viewers to consider their own roles in shaping the future. Recent exhibitions have tackled topics ranging from environmental sustainability and indigenous rights to urban inequality and migration patterns. These displays aren’t didactic or preachy; instead, they offer a space for critical reflection and engagement, prompting visitors to contemplate the intersection of art, culture, and development.

    A Living Gallery: Events, Programs, and Ongoing Evolution

    The ArtLAC Gallery is far from a static institution. It’s a dynamic space that actively seeks to engage with its community through a vibrant program of cultural events, workshops, and lectures. Regular exhibitions rotate throughout the year, ensuring a fresh and stimulating experience for repeat visitors. Beyond these public displays, the gallery frequently hosts artist talks, panel discussions, and collaborative projects – fostering a sense of connection between artists, scholars, and the wider community. The gallery’s commitment to accessibility is evident in its free admission policy, making art available to everyone regardless of their background or financial circumstances. It's a testament to the IDB’s belief that cultural engagement is essential for building a more just and equitable world.

    Notable Works & Artistic Voices

    Omar Carreño Rodríguez:

    His bold, geometric paintings – particularly ‘La Mesa de Rancagua’ – offer a powerful glimpse into the vibrant artistic landscape of Venezuela.

    Her evocative acrylic portraits capture the essence of Uruguayan life with remarkable sensitivity and detail.

    William Glackens' “Italo-American Celebration” (available as a ArtsDot reproduction) provides a lively snapshot of early 20th-century American culture, showcasing the influence of the Ashcan School movement.

    The Inter-American Development Bank ArtLAC Gallery is more than just a museum; it’s a vital cultural hub, a testament to the power of art as a tool for social change, and a window into the rich and diverse artistic heritage of Latin America and the Caribbean. A visit here offers not only an opportunity to admire exceptional artwork but also to engage with important contemporary issues and connect with a vibrant community of artists and thinkers.

    Where to read more

    Find this online

    QR code linking to the download page for Les Oh! Tomobiles

    originaluniqueart.com/en/art/download/roberto-matta-les-oh-tomobiles-D48CEU-en/

    Cite this artwork

    MLA
    Matta, Roberto. Les Oh! Tomobiles. 1972, Inter-American Development Bank. https://originaluniqueart.com/en/art/roberto-matta-les-oh-tomobiles-D48CEU-en/
    APA
    Matta, Roberto (1972). Les Oh! Tomobiles [Painting]. Inter-American Development Bank. https://originaluniqueart.com/en/art/roberto-matta-les-oh-tomobiles-D48CEU-en/
    Chicago
    Roberto Matta. Les Oh! Tomobiles. 1972. Inter-American Development Bank. https://originaluniqueart.com/en/art/roberto-matta-les-oh-tomobiles-D48CEU-en/
    Harvard
    Matta, Roberto (1972) Les Oh! Tomobiles. Inter-American Development Bank. Available at: https://originaluniqueart.com/en/art/roberto-matta-les-oh-tomobiles-D48CEU-en/

    Look closely

    Les Oh! Tomobiles — Roberto Matta

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: surrealism, airplanes, automobiles. Do you agree? What would you add, or take away?
    4. Look back at Being With (Être Avec) (1946), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Surrealism: Dream logic painted with waking precision: impossible things shown as if they were ordinary. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Les Oh! Tomobiles — Roberto Matta

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What art movement is Roberto Matta closely associated with?

      • A Cubism
      • B Surrealism
      • C Impressionism
    2. 2. The artwork 'Les Oh! Tomobiles' is described as being executed in what medium?

      • A Oil on canvas
      • B Acrylic paint
      • C Black and white etching
    3. 3. In which city did Roberto Matta arrive in 1939, meeting Stanley William Hayter?

      • A Paris
      • B Santiago
      • C New York
    4. 4. The subject matter of 'Les Oh! Tomobiles' primarily features:

      • A A portrait of a historical figure
      • B Airplanes flying over people in cars
      • C Abstract geometric shapes
    5. 5. What was the general theme explored by Roberto Matta's work, according to his biography?

      • A Classical mythology
      • B The relationship between psychological states of mind and society
      • C Landscape realism

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2B · 3B · 4A · 5A

    Check any answer against the catalogue record for this painting

    Questions & Answers

    How do the colors of "Les Oh! Tomobiles" relate to each other?

    The colors of "Les Oh! Tomobiles" by Roberto Matta show a balanced harmony harmony. Harmony describes how the colors relate to each other.

    Where is the landscape format of "Les Oh! Tomobiles" recommended to be displayed?

    Format (landscape) and recommended space (hotel lobby) are the two placement facts recorded for "Les Oh! Tomobiles" by Roberto Matta.

    What are the medium and date of "Les Oh! Tomobiles" by Roberto Matta?

    "Les Oh! Tomobiles" was made in 1972, in etching.