Ars Poetica

For me, art is my living space, which changes as I do. Sometimes it is instinctive, other times frivolous, sublime, or common.

through the idyllic or theatrical, dramatic situations filled with strong gestures set in the studio or landscape which I present going back to “selected traditions”:  paintings by Cagnacci, Velázquez, Renoir, Vallotton, Bonnard, Ferenczy, Csernus, Konkoly all portray basic human activities, which inspire me to create my own variations. When I invent a subject, I look for the perfect form of expression: I often adopt settings and already well-established compositions. If an artistic problem arises, I invoke the painters that are important to me and use their artistic solutions in my paintings. Today I am most preoccupied with the thought how I could find the best technical solution to render my figures three-dimensional and statue-like by building on clean colours, to separate them from their background, to make them stand out against their environment.

I am a recurring character of my paintings; sometimes I am present multiply, other times together with others. The creating “ego” plays a central role in organizing dramaturgy or as the stereotype main character of the stories. Its behaviour is absolutely personal behaviour, which relates to its own condition, at the same time it is archetypal, since the stories acted out are perpetually repeated. I look for the identical in the stories; I want to see the characters, compositions and colours in the way that our great ancestors saw them. I look for similarity in their fates.  Stepping into the pictures painted by the Masters means – at the same time – reliving their fate. Entering into the process of painting – becoming part of the perpetually repeated happenings – I can conjure up something that has happened before, but while I am reformulating the works of art, I also add my own story.

What I desire to find in the realm of idyllic paintings is a sense of security, that is why I have become involved in the quest for the ideal form, which has been attempted by so many, and which quest has run through the history of mankind since ancient times, to which man has always added something from his own age. I have found this sense of security, namely, the security provided by eternal existence in the nude.

I open my eyes to harmony and universal order. The physical representation of intimacy serves no other purpose than to demonstrate and render it accepted that art is about life as well as itself, and that physical and transcendental qualities in art interweave just like in the embrace of lovers.


Aknai Tamás: Nincs is részkérdés, nincs részfeladat…Mátis Rita festő. Portré. Echo, Kritikai szemle, Pécs, 2006/2. 15. o.


Mátis Rita // A Halál és a lányka

Death and the Girl

Mátis Rita // A halál és a lányka menü

Scenes at Lake Hermann

Mátis Rita // Aranykor

Golden Age

Mátis Rita // Megtisztulás

Becoming Clean

Mátis Rita // Színerős képek

Colour Power paintings

Mátis Rita // A festő és modell ugyanaz

Painter and Her Model are One

Rita Mátis // Grove in Csertő

Grove in Csertő

Rita Mátis // Catalans (genre paintings)

Catalans (genre paintings)

Mátis Rita // Húsevő Vénusz, térbeli munkák

Carnivorous Venus, three-dimensional works

Mátis Rita // Pudingfejű (korai képek)

Pudding-Head (Early paintings)

Mátis Rita // Rajzok, illusztrációk

Drawings and Illustrations

Riportok, interjúk


Színerő IX. / 2019
Színerő IX. / 2019
m21 Galéria / 2018
m21 Galéria kiállítási interieur / 2018
m21 Galéria / megnyitó / 2018
m21 Galéria megnyitó / 2018
Kaposvár / 2017
Kaposvár / 2017
DLA védés és kiállítás / 2016
DLA védés és kiállítás / 2016
Nick Galéria / 2014
Nick Galéria / 2014
Színerő V. / 2010
Színerő V. / 2010
Páros portrék / 2010
Páros portrék / 2010

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