Matulka was born on November 7, 1890 in Vlachovo Březí, Bohemia, then part of Austria–Hungary and now part of Czech Republic. In 1907 Jan, his parents Maria and John, and his five younger sisters moved to The Bronx. Soon after John separated from Jan's mother and left the family alone and with little money.
In 1908 Jan Matulka began studying at the National Academy of Design in New York City. Upon graduation in 1917 Matulka met Ludmila "Lída" Jiroušková who would on May 1, 1918 become his wife. Lída Matulka worked for the New York Public Library as the head of the Czechoslovak literature section and helped connect her husband to the larger cultural community.
Between 1917 and 1918 Matulka traveled around the United States and the Caribbean as the first recipient of the Joseph Pulitzer National Traveling Scholarship, painting as he went. While in the Southwest he became one of the first modern artists to portray the Hopi snake rain dance.
In 1919 Matulka illustrates Czechoslovak Fairy Tales with writer Parker Fillmore and published by Hippocrene Books. In 1920 the pair compiled a second book; The Shoemaker's Apron; published by Harcourt Brace & Company
The next few years Jan and Lida traveled to Czechoslovakia to visit the old family farm, as well as Germany and France. Matulka found inspiration in the scenery of Tŭri Pôle village, a place that fueled many more paintings over the years. Jan established a studio in Paris and would over-winter there while Lida returned to New York City each October. In Paris he was acquaintances with Gertrude Stein, André Lhote, Jean Lurçat, Josef Šíma, Václav Vytlačil, and Albert Gleizes.
In the 1920's Matulka would maintain both his studios and would travel from Paris to New York City and back many times. Around the middle of the decade Matulka began painting stark and jazzy cityscapes. This by no means meant he limited himself to that style, as he was also painting landscapes in Cape Ann, as well as Abstract pieces.
Katherine Sophie Dreier became his patron briefly from 1925 to 1926, which came to a premature end mainly due to petty disagreements and Matulka's general lack of social grace, ranging from tardiness to tantrums. In November 1926 he starts to contribute illustrations to The New Masses.
In 1927, Matulka began an association with the Frank K. M. Rehn Gallery. The clientele of the gallery wanted more conserative and represetational works, and Matulka complied because he needed the income. Again, this did not prevent him from painting in other styles for other outlets. In 1928 he began drawing from the model when he started meeting with the Society of Independent Artists, while contributing illustrations to the socialist Dělník Kalendar.
With help from Max Weber and Václav Vytlačil Matulka lands a teaching job at Art Students League of New York, his first salaried position. Being the only modernist faculty member, his classes were quite popular. His students include Dorothy Dehner, Francis Criss, Burgoyne Diller, I. Rice Pereira, and David Smith. The lattermost would later state that Matulka was the greatest influence on his work. Matulka is pushed out of his position at the Art Students League by conservative factions in 1931, but with encouragement from students he continues teaching a private class, which itself disbands in 1932. Matulka continued teaching one-on-one classes for a time after that.
Personal and global financial woes soon prevent Matulka from traveling annually to Paris. In 1928 he sublets his studio there to Stuart Davis. Later Josef Šíma sublets it and takes it over completely from Matulka in 1934. Šíma stored all Matulka's paintings and other works left in the studio, eventually transporting them to his own house in Fontainebleau, where unfortunately these things did not survive World War II.
From 1934 until it ended in 1935 Matulka becomes one of the few abstract painters to join the Public Works of Art Project, giving him a taste for murals and public art. Immediately afterwards he joined the Federal Art Project and also worked on the Williamsburg Houses, eventually completing two murals. Both of which were eventually destroyed or painted over.
In 1936 Matulka helps found the American Abstract Artists, but refuses to join the group. His emotional state continues to decline, even more so when his sister Barbara kills herself on July 5. By the time his association with the Federal Art Project ends in 1939 he has become even more socially and emotionally isolated. He continues painting more and more experimental works.
Over the next few decades Matulka receives much acclaim from his exhibitions, but remains relatively withdrawn from society. As age catches up with him, he suffers from many health issues, including deafness. Matulka died June 25, 1972 in New York City.
In 1908 Jan Matulka began studying at the National Academy of Design in New York City. Upon graduation in 1917 Matulka met Ludmila "Lída" Jiroušková who would on May 1, 1918 become his wife. Lída Matulka worked for the New York Public Library as the head of the Czechoslovak literature section and helped connect her husband to the larger cultural community.
Between 1917 and 1918 Matulka traveled around the United States and the Caribbean as the first recipient of the Joseph Pulitzer National Traveling Scholarship, painting as he went. While in the Southwest he became one of the first modern artists to portray the Hopi snake rain dance.
In 1919 Matulka illustrates Czechoslovak Fairy Tales with writer Parker Fillmore and published by Hippocrene Books. In 1920 the pair compiled a second book; The Shoemaker's Apron; published by Harcourt Brace & Company
The next few years Jan and Lida traveled to Czechoslovakia to visit the old family farm, as well as Germany and France. Matulka found inspiration in the scenery of Tŭri Pôle village, a place that fueled many more paintings over the years. Jan established a studio in Paris and would over-winter there while Lida returned to New York City each October. In Paris he was acquaintances with Gertrude Stein, André Lhote, Jean Lurçat, Josef Šíma, Václav Vytlačil, and Albert Gleizes.
In the 1920's Matulka would maintain both his studios and would travel from Paris to New York City and back many times. Around the middle of the decade Matulka began painting stark and jazzy cityscapes. This by no means meant he limited himself to that style, as he was also painting landscapes in Cape Ann, as well as Abstract pieces.
Katherine Sophie Dreier became his patron briefly from 1925 to 1926, which came to a premature end mainly due to petty disagreements and Matulka's general lack of social grace, ranging from tardiness to tantrums. In November 1926 he starts to contribute illustrations to The New Masses.
In 1927, Matulka began an association with the Frank K. M. Rehn Gallery. The clientele of the gallery wanted more conserative and represetational works, and Matulka complied because he needed the income. Again, this did not prevent him from painting in other styles for other outlets. In 1928 he began drawing from the model when he started meeting with the Society of Independent Artists, while contributing illustrations to the socialist Dělník Kalendar.
With help from Max Weber and Václav Vytlačil Matulka lands a teaching job at Art Students League of New York, his first salaried position. Being the only modernist faculty member, his classes were quite popular. His students include Dorothy Dehner, Francis Criss, Burgoyne Diller, I. Rice Pereira, and David Smith. The lattermost would later state that Matulka was the greatest influence on his work. Matulka is pushed out of his position at the Art Students League by conservative factions in 1931, but with encouragement from students he continues teaching a private class, which itself disbands in 1932. Matulka continued teaching one-on-one classes for a time after that.
Personal and global financial woes soon prevent Matulka from traveling annually to Paris. In 1928 he sublets his studio there to Stuart Davis. Later Josef Šíma sublets it and takes it over completely from Matulka in 1934. Šíma stored all Matulka's paintings and other works left in the studio, eventually transporting them to his own house in Fontainebleau, where unfortunately these things did not survive World War II.
From 1934 until it ended in 1935 Matulka becomes one of the few abstract painters to join the Public Works of Art Project, giving him a taste for murals and public art. Immediately afterwards he joined the Federal Art Project and also worked on the Williamsburg Houses, eventually completing two murals. Both of which were eventually destroyed or painted over.
In 1936 Matulka helps found the American Abstract Artists, but refuses to join the group. His emotional state continues to decline, even more so when his sister Barbara kills herself on July 5. By the time his association with the Federal Art Project ends in 1939 he has become even more socially and emotionally isolated. He continues painting more and more experimental works.
Over the next few decades Matulka receives much acclaim from his exhibitions, but remains relatively withdrawn from society. As age catches up with him, he suffers from many health issues, including deafness. Matulka died June 25, 1972 in New York City.
Matulka was born on November 7, 1890 in Vlachovo Březí, Bohemia, then part of Austria–Hungary and now part of Czech Republic. In 1907 Jan, his parents Maria and John, and his five younger sisters moved to The Bronx. Soon after John separated from Jan's mother and left the family alone and with little money.
In 1908 Jan Matulka began studying at the National Academy of Design in New York City. Upon graduation in 1917 Matulka met Ludmila "Lída" Jiroušková who would on May 1, 1918 become his wife. Lída Matulka worked for the New York Public Library as the head of the Czechoslovak literature section and helped connect her husband to the larger cultural community.
Between 1917 and 1918 Matulka traveled around the United States and the Caribbean as the first recipient of the Joseph Pulitzer National Traveling Scholarship, painting as he went. While in the Southwest he became one of the first modern artists to portray the Hopi snake rain dance.
In 1919 Matulka illustrates Czechoslovak Fairy Tales with writer Parker Fillmore and published by Hippocrene Books. In 1920 the pair compiled a second book; The Shoemaker's Apron; published by Harcourt Brace & Company
The next few years Jan and Lida traveled to Czechoslovakia to visit the old family farm, as well as Germany and France. Matulka found inspiration in the scenery of Tŭri Pôle village, a place that fueled many more paintings over the years. Jan established a studio in Paris and would over-winter there while Lida returned to New York City each October. In Paris he was acquaintances with Gertrude Stein, André Lhote, Jean Lurçat, Josef Šíma, Václav Vytlačil, and Albert Gleizes.
In the 1920's Matulka would maintain both his studios and would travel from Paris to New York City and back many times. Around the middle of the decade Matulka began painting stark and jazzy cityscapes. This by no means meant he limited himself to that style, as he was also painting landscapes in Cape Ann, as well as Abstract pieces.
Katherine Sophie Dreier became his patron briefly from 1925 to 1926, which came to a premature end mainly due to petty disagreements and Matulka's general lack of social grace, ranging from tardiness to tantrums. In November 1926 he starts to contribute illustrations to The New Masses.
In 1927, Matulka began an association with the Frank K. M. Rehn Gallery. The clientele of the gallery wanted more conserative and represetational works, and Matulka complied because he needed the income. Again, this did not prevent him from painting in other styles for other outlets. In 1928 he began drawing from the model when he started meeting with the Society of Independent Artists, while contributing illustrations to the socialist Dělník Kalendar.
With help from Max Weber and Václav Vytlačil Matulka lands a teaching job at Art Students League of New York, his first salaried position. Being the only modernist faculty member, his classes were quite popular. His students include Dorothy Dehner, Francis Criss, Burgoyne Diller, I. Rice Pereira, and David Smith. The lattermost would later state that Matulka was the greatest influence on his work. Matulka is pushed out of his position at the Art Students League by conservative factions in 1931, but with encouragement from students he continues teaching a private class, which itself disbands in 1932. Matulka continued teaching one-on-one classes for a time after that.
Personal and global financial woes soon prevent Matulka from traveling annually to Paris. In 1928 he sublets his studio there to Stuart Davis. Later Josef Šíma sublets it and takes it over completely from Matulka in 1934. Šíma stored all Matulka's paintings and other works left in the studio, eventually transporting them to his own house in Fontainebleau, where unfortunately these things did not survive World War II.
From 1934 until it ended in 1935 Matulka becomes one of the few abstract painters to join the Public Works of Art Project, giving him a taste for murals and public art. Immediately afterwards he joined the Federal Art Project and also worked on the Williamsburg Houses, eventually completing two murals. Both of which were eventually destroyed or painted over.
In 1936 Matulka helps found the American Abstract Artists, but refuses to join the group. His emotional state continues to decline, even more so when his sister Barbara kills herself on July 5. By the time his association with the Federal Art Project ends in 1939 he has become even more socially and emotionally isolated. He continues painting more and more experimental works.
Over the next few decades Matulka receives much acclaim from his exhibitions, but remains relatively withdrawn from society. As age catches up with him, he suffers from many health issues, including deafness. Matulka died June 25, 1972 in New York City.
In 1908 Jan Matulka began studying at the National Academy of Design in New York City. Upon graduation in 1917 Matulka met Ludmila "Lída" Jiroušková who would on May 1, 1918 become his wife. Lída Matulka worked for the New York Public Library as the head of the Czechoslovak literature section and helped connect her husband to the larger cultural community.
Between 1917 and 1918 Matulka traveled around the United States and the Caribbean as the first recipient of the Joseph Pulitzer National Traveling Scholarship, painting as he went. While in the Southwest he became one of the first modern artists to portray the Hopi snake rain dance.
In 1919 Matulka illustrates Czechoslovak Fairy Tales with writer Parker Fillmore and published by Hippocrene Books. In 1920 the pair compiled a second book; The Shoemaker's Apron; published by Harcourt Brace & Company
The next few years Jan and Lida traveled to Czechoslovakia to visit the old family farm, as well as Germany and France. Matulka found inspiration in the scenery of Tŭri Pôle village, a place that fueled many more paintings over the years. Jan established a studio in Paris and would over-winter there while Lida returned to New York City each October. In Paris he was acquaintances with Gertrude Stein, André Lhote, Jean Lurçat, Josef Šíma, Václav Vytlačil, and Albert Gleizes.
In the 1920's Matulka would maintain both his studios and would travel from Paris to New York City and back many times. Around the middle of the decade Matulka began painting stark and jazzy cityscapes. This by no means meant he limited himself to that style, as he was also painting landscapes in Cape Ann, as well as Abstract pieces.
Katherine Sophie Dreier became his patron briefly from 1925 to 1926, which came to a premature end mainly due to petty disagreements and Matulka's general lack of social grace, ranging from tardiness to tantrums. In November 1926 he starts to contribute illustrations to The New Masses.
In 1927, Matulka began an association with the Frank K. M. Rehn Gallery. The clientele of the gallery wanted more conserative and represetational works, and Matulka complied because he needed the income. Again, this did not prevent him from painting in other styles for other outlets. In 1928 he began drawing from the model when he started meeting with the Society of Independent Artists, while contributing illustrations to the socialist Dělník Kalendar.
With help from Max Weber and Václav Vytlačil Matulka lands a teaching job at Art Students League of New York, his first salaried position. Being the only modernist faculty member, his classes were quite popular. His students include Dorothy Dehner, Francis Criss, Burgoyne Diller, I. Rice Pereira, and David Smith. The lattermost would later state that Matulka was the greatest influence on his work. Matulka is pushed out of his position at the Art Students League by conservative factions in 1931, but with encouragement from students he continues teaching a private class, which itself disbands in 1932. Matulka continued teaching one-on-one classes for a time after that.
Personal and global financial woes soon prevent Matulka from traveling annually to Paris. In 1928 he sublets his studio there to Stuart Davis. Later Josef Šíma sublets it and takes it over completely from Matulka in 1934. Šíma stored all Matulka's paintings and other works left in the studio, eventually transporting them to his own house in Fontainebleau, where unfortunately these things did not survive World War II.
From 1934 until it ended in 1935 Matulka becomes one of the few abstract painters to join the Public Works of Art Project, giving him a taste for murals and public art. Immediately afterwards he joined the Federal Art Project and also worked on the Williamsburg Houses, eventually completing two murals. Both of which were eventually destroyed or painted over.
In 1936 Matulka helps found the American Abstract Artists, but refuses to join the group. His emotional state continues to decline, even more so when his sister Barbara kills herself on July 5. By the time his association with the Federal Art Project ends in 1939 he has become even more socially and emotionally isolated. He continues painting more and more experimental works.
Over the next few decades Matulka receives much acclaim from his exhibitions, but remains relatively withdrawn from society. As age catches up with him, he suffers from many health issues, including deafness. Matulka died June 25, 1972 in New York City.
Inscription
Matulka
Jan
1890-1972
Ludmila
1891-1985
Family Members
Sponsored by Ancestry
Advertisement
Records on Ancestry
Advertisement
