The psychological inscape: surrealist, abstract, and fantastic art

According to Professor Claude Cernuschi, writing in a catalogue for a Matta exhibition at Boston College (see external link below), Matta's use of the term inscape for a series of landscape-like abstract or surrealist paintings reflects "the psychoanalytic view of the mind as a three-dimensional space: the 'inscape'." The 'inscape' concept is particularly apt for Matta's works of the late 1930s. As Dawn Ades (p. 233) writes, "A series of brilliant oil paintings done during the years of his [Matta's] first association with the Surrealists explore visual metaphors for the mental landscape." And Valerie Fletcher, in Crosscurrents of Modernism , writes that during this time Matta "created with startling mastery the paintings he called 'inscapes' or 'psychological morphologies.' " See also Miriam Basilio's essay, "Wifredo Lam's 'The Jungle' and Matta's 'Inscapes' ".

The term inscape was later taken up by the leading Australian surrealist James Gleeson, American abstract artists such as James Brooks, Jane Frank, and Mary Frank (no relation), and even a group of British fantasy artists founded by Brigid Marlin in 1961 and calling themselves the 'Inscape Group.' (The latter group may have had in mind another sense of the word 'inscape', associated with the British poet Gerard Manley Hopkins. See the article titled simply 'inscape' for more information on this.) More recently, in a 1998 review of a Mary Frank exhibition in New York , Carol Diehl writes, "Titled 'Inscapes', the paintings are landscapes of the soul...."

Also clearly referring to the psychoanalytical meaning of the word as described by Prof. Cernuschi and others above, the leading journal of art therapy was formerly called simply Inscape. The journal is now called International journal of art therapy : Inscape. (This is not to be confused with the Inscape magazine produced by Brigid Marlin's Society for Art of Imagination.)