There is no longer a shop in Mexico City, but matl Salas continues to be sold at two stores in the united states, in Santa Monica, California, and in Washington, D.C. Salas perspective, he and his aunt collaborated so closely as designers, that there really cannot be a comparison of their work. As a youth, he learned the techniques of the silversmith and perfected the carving of ivory, coral, turquoise, and other stones used in the jewelry and figurines. Salas was sent to the San Carlos academy, where he received the premio Diego Rivera. He says she recognized his artistic talent when she saw him do a play with puppets he had made himself. Ricardo Salas worked closely with his aunt from the time he was eleven years of age. Ricardo Salas recalls that they made three thousand types of silver jewelry and one hundred different religious pieces. Poulat and her nephew opened a showroom on the first floor of her home, where she also had the workshop. as a result of increasing demand for matl silver during world war ii, the number of silversmiths in the taller increased to thirty-three. Matilde Poulat received international recognition for her jewelry when she was asked in 1941 to participate in an exhibit of Latin American silver at the pan American union in Washington, D.C. Her choice of motifs the dove, flowers, and tiny bells are reminiscent of the whimsical subjects of contemporary Mexican folk art. Poulat found inspiration in the mextec gold jewelry discovered in 1932 at Monte Alban. Matilde Poulat´s designs for jewelry and religious figures were part of the new cultural vision among Mexico’s intellectuals after the revolution in 1920s, artists were searching for Mexican aesthetic, rejection European subjects in favor of the art of the pre-conquest Indians and of the Mexican pueblos. Salas, who can recite poetry in the language of the Aztecs, the mark matl, has greater meaning in its reference to the Nahuatl or Aztec word for water, atl.Īs a young woman, Matilde Poulat studied painting at the prestigious San Carlos academy of fine arts in Mexico city, she went on to teach painting classes at an art school until her interest turned exclusively to silver. Matilde Eugenia Poulat introduced MATL in 1934 and, since her death in 1960, her designs and techniques have been carried on by her nephew, Ricardo Salas. The bale is not large & if one wanted they could clip it off & with some creativity,along with great use of their hands,could have something larger put on to accommodate a larger bale so you can wear it on something larger than a tiny chain.You can also take it to a reputable jeweler & they can do do something without having to remove the stones,since a new bale can be added through the slot where the present one is & no soldering would be done.Matl is the mark that appears on some of the most beautiful and unique jewelry in Mexico. The total design is a cross shape & has cross's within crosses, that extend itself out to the perimeter. Matl's signature pyramidal shaped cut amethyst,her use of putting little cabochons of turquoise crimped in one single bezel, are all displayed in this very ornate~Baroque setting. Time has aged this pendant so gracefully! Each designer during the Mexican Silver Renaissance days had their own unique style,but it was Matilde,who brought the beautiful motifs of doves, flowers, and tiny bells that are reminiscent of the whimsical subjects of contemporary Mexican folk art.The beauty of her metal work,was so time consuming & was considered Baroque in style,with a undeniably "Mexican"look. Matilde Poulat (aka"MATL") produced some of the most ornate jewelry that was being produced in Mexico back in the day.The inspirations she fell back on,were inspired from the Mixtec people of Monte Alban, Oaxaca area.
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