Jerry Garcia Album Cover Art: HOOTEROLL? (Mati Klarwein) Grateful Dead - New

Description

Jerry Garcia Album Cover Art:
HOOTEROLL?
Mati Klarwein, The Saint John Pentych
1962-63
(A series of five visionary landscapes)
Reproduction of four of five panels printed on cardstock,
6.75”
x
19”
[Each postcard-sized panel is a print of an individual painting from this series.]
P
rinted by Northern California art publisher, Pomegranate Publications
.
New, in excellent condition. Out of print
.
Please contact us about discounts for combined shipping in advance of purchase if ordering multiple items.
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Klarwein's work first came to the notice of the world when
Carlos Santana
chose his work for the cover of the LP "
Abraxas
." It was probably the vibrant, colored landscapes and richly populated scenes that convey the process of drinking in all of the surroundings and sensory detail which attracted the psychedelic generation. His natural temperament led him to this heightened sense of reality and his talent to express it so well and so compellingly.
The included panel,
Saint John
, a painting from 1963, was used as the cover art for the record album,
Hooteroll?
by Jerry Garcia and Howard Wales.
The same painting is also on the cover of the
Jam & Spoon
album by
Kaleidoscope
.
Other paintings by Klarwein were used for the cover and gatefold art of the
Miles Davis
album
Bitches Brew
and
Santana
Abraxas
.
Mati Klarwein's best known paintings are 'Annunciation', which was chosen for the cover of Santana's album 'Abraxas', and the painting used by Miles Davis for his cover 'Bitches Brew' - also reproduced for Absolut Vodka's ad campaign. His artwork has been widely shown in galleries in
New York
,
Paris
, and all over
Spain
. Mati's most unique installation was the Aleph Sanctuary, a cubic room comprised of 68 paintings including the 'Tree of Life.'
During his last years, he had major retrospective shows in
Madrid
,
Barcelona
,
Palma
and
Cadiz
.
The exhibition
'Summer of Love: Art of the Psychedelic Era',
ran at the Whitney
Museum
of
American Art
in
New York
from
24 May 2007
-
16 September 2007
. The exhibition featured Mati's works, Grain of Sand and the reconstructed Aleph Sanctuary. Watch this
video
from taken at the Whitney
Museum
of
American Art
. It shows Klarwein’s
“The Aleph Sanctuary” starting around the 4 minute mark.
.youtube/watch?v=lGInBS_Acoo&feature=player_embedded#at=241
Album Covers
"
Abraxas,” Santana, 1970: “Blue Mode,” Reuben Wilson, 1969; ”Bitches Brew,” Miles Davis, 1970; “New Generations,” Chambers Brothers, 1971; “Hooteroll?” Jerry Garcia, 1971; “Last Days and Time,” Earthy, Wind and Fire, 1972; “Live Evil,” Miles Davis, 1972; “Mosaic,” Mark Egan, 1985; “Elements,” Elements, 1987; "Buddy Miles Live," 1971, as well as dozens of others.
Selected Publications
“
Milk n’ Honey
”; “
God Jokes: The Art of Abdul Mati Klarwein
,”, “Inscapes Real-Estate Paintings,” “Mati Klarwein: Improved paintings,” “
Mati Klarwein: Collected Works
1959-
1975,”
“Mati Klarwein:
A Thousand Windows
.”
Mati resided for the most part in
New York City
(1967-1983) and in Deia,
Mallorca
,
Spain
(intermittently since 1953 and as a resident 1984-2002). In
New York
, he lived in several downtown lofts where he would create his artwork, jam with musicians and run around with such notorious characters as Andy Warhol, Jimi Hendrix, Peter Beard, Timothy Leary and Jon Hassell. In Deia, Mati lived in a house his father built overlooking the local beach - La Cala - where he would hang out with the likes of painter Domenico Gnoli, archeologist Bill Waldren and the poet Robert Graves. He sold the house to fund a round-the-world trip. When he finally returned, he lived in rented houses particularly: Casanova and his final home San Rullan, owned by neighbors Annie and writer Fred Grunfeld- one of his closest friends.
Andy Warhol said that Mati Klarwein was his “favorite painter.” Indeed, artists, musicians and actors have collected his works since the 1960’s. His work is included in the collections of: Noel Coward, David Niven, President John Kennedy, Mrs. Paul Mellon, Mrs. Drew Heinz, Leonard Bernstein, Kenneth Lane, Baron Edmond De Rothschild, Madame Andre Malraux, Brigitte Bardot, the Grateful Dead, Michael Douglas and Charles Aznavour and many others.
Klarwein's many events and parties in Mallorca were legendary and in the friendly company of artists such as Ben Jakober, Yannick Vu, Yakov Lind, Annie Truxell, Curtis Jones, Mondino, Annie Lennox and Lynn Franks. During his last months, his longtime friends Bettina Rheims, Serge Bramly, Heloïse Ficat, Felipe Hernandez, Sara Ball and Juan Sanahuja were of great help to him. At the age of 69, Mati
Klarwein
died from complications arising from cancer. He died in his sleep at home on the morning of
the 7th of March, 2002
.
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In Memory of Abdul Mati Klarwein
1932- 2002
by Alex Grey
The divinely inspired Mati Klarwein created some of the world's most visionary and astonishing paintings with meticulous brush strokes of genius.  I was introduced to Mati's work in 1974 by my roommate from art school who showed me Milk 'n Honey (Harmony Books, 1973), Mati's first book of paintings.  The book is now a rare collectors item.  Milk 'n Honey documents Mati's climactic masterpiece, the Aleph Sanctuary, a work dedicated to "the undefined religion of everything".  With 70 painted panels, it took him ten years to complete. Mati worked for two years on some paintings, like his Crucifixion (Freedom of Expression) an unforgettably infinite interacial orgy spread over a wide-branched tree of life.  Another two year piece was Grain of Sand, an unexplainably complex and weird mandala of bodies, melting minds, aliens and flowers, with cameo appearances by Lord Krishna, Salvador Dali, Marilyn Monroe and Socrates, et al, which exactly duplicated itself in miniature at it's center.
In 1976, I was excited to see Klarwein's second book, God Jokes. By this time I had taken LSD and, like many others, found Mati to be my number one fine art reference point.  Klarwein was able to capture the multi-colored iridescent visions and patterns of the inner worlds demonstrating what an experienced psychonaut and fanatically disciplined painter he was.
Mati was born in
1930 in
Hamburg
,
Germany
and his Jewish parents escaped the Nazis by moving to
Palestine
in 1934. His earliest memories were walking through the deserts of Bibleland.  With the war in full blast establishing
Israel
as a nation in 1948, Mati and his mother left for
Paris
.  Staying in Paris for 18 years, Mati studied art with Ferdinand Leger, was introduced to the art of Dali and befriended the painter Ernst Fuchs, who taught him how to paint like the Old Masters.  Mati later lived for many years in
New York City
, then moved to the
island
of
Mallorca
,
Spain
.  He said that he added the name Abdul to his own because every Jew ought to adopt a Moslem name and every Moslem ought to adopt a Jewish name in order to overcome some of the hatred that engulfed his homeland.  He was a totally charming raconteur and hobnobbed with celebrities like Jimi Hendrix, Timothy Leary, movie stars and royalty throughout his life.   As Michael Palin put it, "Things happen after a bottle of Klarwein."   My own daughter, Zena, who was 5 when she met the 63 year old painter, decided that she would marry him when she grew up.
Mati was an example of uncompromising artistic integrity.  He once told me that he had prepared a huge book of his paintings for a major art book publisher and the first word of the book was "F*ck."  The publisher was anxious to get Klarwein's book in print but said, "You can't have f*ck be the first word of your book!"  So Mati told him, " F*ck is the first word, so I guess you can't publish the book."   Mati went on to publish his own books  "A Thousand Windows and Improved Paintings: Bad Paintings Made Gooder. Klarwein's writing style was as unique and outrageous as his paintings."  He was a grand storyteller and spun both long-winded dream epics and psychedelic one-liners like, "Ecstasy is my frame of reference."
I was thrilled to finally meet Mati in 1994 and glad to know that he appreciated my work and felt a fellowship with so many of the younger visionary artists whom he inspired.  Though he knew that the art of the fantastic realists, including his own work, was not accepted enough during his lifetime to find its way into many major museum collections, his advice to me for overcoming artistic disrespect was practical and realistic: "You have to find and pay the best art critics to write about the work and show in respected galleries."  Mati showed his work in galleries and museums throughout his life and also sold works to collectors out of his studio.
He never tried to make his work marketable, but could sell every painting he made.  Outside the confines of the art world, most everyone had seen his work through his record covers for Santana or Miles Davis or Buddy Miles.  During his full and adventurous life, Mati traveled the world and maintained his relationships with friends, wives, lovers and his many children.  He was an inspiration to so many artists because he expressed the freedom to imagine and paint anything.  He visited and painted mystical dimensions of consciousness, and could coax us into spiritualized epiphanies one moment then plunge us into completely bizarre erotic frenzies.  I join with many artists and admirers in feeling grateful that Mati Klarwein lived and left us his visionary legacy.  Like a cosmic comedian with a wry grin who appreciated God jokes and a magic mushroom paintbrush, his paintings will continue to provoke both awe and laughter as they tweak the ass of our psyche.