The cosmic comedian, artist of sex, drugs and music

Updated on June 2, 2015
Past reflection
Past reflection

A visionary artist and philosopher

Anyone who has listened to Miles Davis's seminal Bitches Brew, or Santana's great Abraxas, will have noticed the amazing artwork on the covers of these two albums. And anyone who has dropped acid (I have to confess I haven't) will know the “manic landscapes” depicted in the artwork.

Both covers show paintings by the visionary artist and philosopher Matthias Klarwein, known by his many, many fans, simply as Mati.

In his career Mati designed, or his paintings were used, on the covers of some 40 albums ranging from Bach to Symphonic Slam, from Miles Davis to Buddy Miles, from Leonard Bernstein to The Mooney Suzuki (whoever they might be!).

What follows is a really too short introduction to the art of Mati Klarwein. It is an art not for the faint-hearted or politically correct!

Mati Klarwein: Artist and model, 1959
Mati Klarwein: Artist and model, 1959

Mati's life in brief

Mati was born to Jewish parents in Hamburg in 1932, not a propitious time or place to be born Jewish. After the rise and rise of the little corporal the family left for the then British territory of Palestine, hoping to find more congenial surroundings.

In 1948 the family moved again, this time to Paris, where the young Mati took lessons from famed French artist Fernand Leger and later, after he went to the South of France, Ernst Fuchs, the celebrated visionary artist. Fuchs had a deep and lasting influence on the young artist.

Thereafter Mati, in the company of an unnamed older, and richer, woman, travelled extensively through the far East, the Middle East and North Africa, absorbing and assimilating influences from all these cultures and artistic traditions.

In the early 1960s Mati settled in New York City where he came to the attention of people in the arts and entertainment worlds. Pop artist Andy Warhol even claimed that Mati was his favourite artist.

Mati finally settled in Mallorca, where he died in March 2002.

Along the way Mati discovered jazz and befriended a number of jazz musicians, in spite of a rather difficult encounter with Yusef Lateef. This happened in 1960 when Mati, then calling himself Abdul Mati, sent a portrait of Lateef to the great musician, who seemed interested in using it on an album cover. However, when Mati and Lateef met, the musician, suddenly realising that the artist was white, turned away without a word, and that was the end of that.

Mati Klarwein: Annunciation, 1961
Mati Klarwein: Annunciation, 1961


In 1961 Mati painted a work he called “Annunciation” which was seen in reproduction by guitarist Carlos Santana. Santana wanted the painting for his second album, Abraxas, which was released in 1970.

Mati wrote of this painting: “Annunciation is the first painting I painted after my initial New York awakening. I was 28 years old and at the peak of my molecular bio-energy. You can feel the sudden burst of the Big Apple's electric zap in the composition after all the early years of adolescent brooding over potatoes and eggs and the romantic nostalgia of the preceding 'Flight to Egypt.' In those days I had an obsessional passion for the female body that lasted deep into my thirties (to be replaced by rocks 'n' stones). Years later Carlos Santana saw a reproduction of the Annunciation in a magazine and wanted it for the cover of his all time best selling Abraxas album. It did me a world of good. I saw the album pinned to the wall in a shaman's mud hut in Niger and inside a Rastafarian's ganja hauling truck in Jamaica. I was in good global company, muchissimas gracias, Carlito!”

Click thumbnail to view full-size
Bitches Brew, 1971Live, 1972Evil, 1972
Bitches Brew, 1971
Bitches Brew, 1971
Live, 1972
Live, 1972
Evil, 1972
Evil, 1972

Bitches Brew and Live-Evil

In 1971 Miles Davis commissioned the painting that is so much a part of the Bitches Brew album. The whereabouts of the original painting are now unknown. The album reached a million sales in 2004 and the Klarwein family was given a gold disc in recognition of the part played by the album art in achieving that milestone.

Mati on this cover: "I hooked up with Miles the way I hooked up with everything else in life: through the women I've known, be they friends or lovers, they are all mothers with excellent taste. Without them I'd be a dead spermatozoid in a dry puddle, and Miles saw that in my paintings.”

Of the cover of Live-Evil Mati said: “The only time he (Miles) discussed subject matter was for Live-Evil. He asked me to paint a toad for the 'Evil' side. So I painted J Edgar Hoover as a toad in drag—which turned out to be another one of my prophetic insights."

Jimi Hendrix, 1970
Jimi Hendrix, 1970

Jimi Hendrix and Gil Evans

At the time of Jimi Hendrix's death in September 1970, he had been working with famed arranger and composer Gil Evans on a big band album using Hendrix compositions arranged by Evans. The portrait of Hendrix painted by Mati was to have been used on the album cover. The album was never completed and so the portrait never used.

Mati Klarwein: Yusef Lateef, 1958
Mati Klarwein: Yusef Lateef, 1958

Yusef Lateef portrait

Of the famous Yusef Lateef portrait mentioned above Mati wrote: “In the fifties, jazz was the exciting music of the moment - Charlie Parker, Miles, MJQ, Gerry Mulligan. But for me, that which I could identify with most was the influence of Arab and African music and culture in black American music - the move toward a separate cultural identity, away from the white trash rectangular music. It started with the substituting of Christian names by Muslim ones. There was Ahmed Abdul Malek on the Oud with his Jazz-Sahara music, and there was Yusef Lateef, experimenting with flutes, reeds, bottles, balloons, home made string instruments and the use of fake Arab words. I would spend hours in Paris and Harlem looking for his records. Here's another reverse example - instead of a record album using my painting, I use an album cover photo for my painting.

“When the painting was completed I sent Yusef a photo of it and signed it with Abdul Mati Klarwein. He replied promptly with a 'dear bro' letter, saying he would use it as soon as he could for an album cover. Six months later I found myself in N.Y. listening to him play at the Five Spot. During a break I went over to his table and introduced myself. He looked at me with disdain and hardly greeted me. When I told him I was the artist who did the painting he sneered and turned his back to me, resuming his conversation with a friend. I forgot that love between colors is not always mutual.”

Timeless, 1968
Timeless, 1968
Illusion, Projection and Reality, 1997
Illusion, Projection and Reality, 1997


Musician Jon Hassell has written of Mati's work: “In Klarwein's world, culture is a perpetual-motion machine where hierarchies are overturned and history collapses into itself, tunnels open up through the Earth allowing cultures, creeds and symbols to project themselves on each other's irises, male and female.”

For me the works are revelatory in the way remembered dreams are: they shock me into looking deeper into myself and questioning the assumptions that I habitually make about primal issues like good and evil, fun and pain. I find it almost impossible to look dispassionately at one of his works. Even the fairly conventional-looking portraits of society people or family members have a depth and questing spirit which is challenging and refreshing at the same time.

I find that looking at one of the works I will try to see it as a “picture of” something, only to be dragged into a whole different experience by some small detail that calls the whole presumption of what the painting is “about” into question.

In an interview with David Brummbaeron the website Mavericks of the Mind ( Mati had this to say about the content of his works: “... if there are any elements in the paintings which look like messages, that could be misleading, because I paint a message like you paint an apple. Anybody can interpret their own message in the painting. That's the message. I give clues or material for interpretation.”

Copyright Notice

The text and all images on this page, unless otherwise indicated, are by Tony McGregor who hereby asserts his copyright on the material. Should you wish to use any of the text or images feel free to do so with proper attribution and, if possible, a link back to this page. Thank you.

© Tony McGregor 2010


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    • profile image


      5 years ago

      Okay? Wow

    • profile image


      6 years ago

      that first image 'past reflection' is not by Mati

    • Ben Zoltak profile image

      Ben Zoltak 

      10 years ago from Lake Mills, Jefferson County, Wisconsin USA

      Thanks for the education Tony, I've always liked the Abraxas album cover, I had no idea the artist "Mati" had such a storied career.

      "Thereafter Mati, in the company of an unnamed older, and richer, woman, travelled extensively through the far East, the Middle East and North Africa, absorbing and assimilating influences from all these cultures and artistic traditions"

      As an artist, I sometimes wish I had this sort of interlude early on. I feel that lot's of artists would benefit from having a rich benefactor/patron, if only for a year or so! Anyway, what a great story, and written in a clear tone. I also loved the part about "good company" having seen his art in a shaman's shack.

    • Cheeky Girl profile image

      Cassandra Mantis 

      10 years ago from UK and Nerujenia

      Hy Tonymac, I am really delighted to see such familiar paintings by such a genius as Abdul Mati Klarwein in this hub! Way to go! I have loved his art for years. He has always sailed close to the wind with some of the portraits he did of women. I have three reprints of his on my apartment wall. One is the Giant Tree picture with hundreds of people in it all in various um...physical poses doing certain unmentionable things with each other. And he was a friend of Dali too. I always thought there was a similarity in the 2 styles of these 2 artists. I read a book he wrote on his own work he did, it reads so funny - he must have been high as a kite when he wrote it! Awesome Hub! Love this a lot! Made my day here!

    • prettydarkhorse profile image


      10 years ago from US

      Thank you for the information Tonymac. I like the "Illusion" and the man -- Mati -- is exceptional, Maita

    • tonymac04 profile imageAUTHOR

      Tony McGregor 

      10 years ago from South Africa

      myawn - glad to have opened a nw perspective for you.

      Donna - glad to have introduced a wonderful artist to you

      Thanks both of you for reading and commenting. I appreciate it sincerely.

      Love and peace


    • donna bamford profile image

      donna bamford 

      10 years ago from Canada

      You've got me interested in this painter Mati. i shall look him up!I have a passion for art and always happy to discover a new artist i like. I like the Annunciation! Wow you write well! Salut!

    • myawn profile image


      10 years ago from Florida

      You made me see the artwork in another light. Nice hub

    • tonymac04 profile imageAUTHOR

      Tony McGregor 

      10 years ago from South Africa

      Dim - thanks so much for reading and commenting. And yes, we see very often what we are conditioned to see unles we open ourselves to the experience of the work of art, not just its surface.

      Thanks for the kind words.

      Love and peace


    • Dim Flaxenwick profile image

      Dim Flaxenwick 

      10 years ago from Great Britain

      I do so agree with you that one can look at a painting and be completely drawn into it. This was happening to me once , when the guy standing next to me said, but all I can see is a house!! It's just a house. O but wasn't to me. Great hub as always.

    • tonymac04 profile imageAUTHOR

      Tony McGregor 

      10 years ago from South Africa

      GW 77 - glad to have provided a late night read for you!

      Peter - yes, not everything Mati did was great. No artist can please everyone all the time, I guess!

      Alek - I write what I am interested in, really. No special formula. I think it's just that I'm interested in many things, LOL.

      Mystique - yes that painting is great and so is the album!

      Thanks everyone for coming by, reading and commenting. It mean a lot to me, it really does!

      Love and peace


    • Mystique1957 profile image


      10 years ago from Caracas-Venezuela

      Great hub, Tony!

      I was surprised to know that Mati had done the "Abraxas" album cover, which I have always admired. Not to mention all the other great paintings you`ve shared here!

      Always informative and interesting, Tony!

      Warm regards and Blessings to you,


    • alekhouse profile image

      Nancy Hinchliff 

      10 years ago from Essex Junction, Vermont

      Wow! amazing art work. Thanks for turning me on to this artist. How do you come up with all the interesting "stuff" in your hubs. I always look foreward to reading them.

    • Peter Dickinson profile image

      Peter Dickinson 

      10 years ago from South East Asia

      I tend to visit art galleries wherever I go. I find things I like, I hate and I can relate too. This is a bit of each. It actually reminds me a lot of my brothers work...and I feel the same about that as well. Thanks Tony. Enjoyed.

    • Ghost Whisper 77 profile image

      JG the IGNITER 

      10 years ago from The U.S. Government protects Nazi War Criminals

      Love Jimmi Hendrix-the painting by Mati of him is awesome! Good late night read! Thanks! Enjoyed it!


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