chilean artists who use abstract expressionism
Only Rufino Tamayo’s “Trovador,” sold for $7.2 million at Christie’s in 2008, and “Roots,” a painting by Frida Kahlo sold at Sotheby’s BID.N in 2006 for $5.6 million, have fetched more.
Influenced by Italy’s Futurist movement and Cubism, Pettoruti was a founder of the Argentine avante-garde, Christie’s says.
Another poignant aspect of his work is his use of contrasting tones between light and dark, giving certain areas in his paintings the sensation that they are glowing or of being filled with light. This may be best interpreted by relating it to his knowledge of Renaissance art, which employed the use of glazing – the gradual application of thin layers of paint on top of each other in order to achieve greater luminosity and sheen – when presenting holy subjects. In this regard, Matta must have seen the relevance of this symbolic proposition, and effectively used it to produce a sense of mysticism and sublimity in his canvases.
Invasion of the Night (1942).
Matta’s connections with Breton’s surrealist movement were severed following a private disagreement concerning Arshile Gorky and his family. Matta was accused of indirectly causing Gorky’s suicide (in response to Matta’s relationship with the Armenian-American painter’s wife). This led to his expulsion from the group, but by this time Matta’s own name was becoming widely known. He divided his life between Europe and South America during the 1950s and 1960s, successfully combining the political and the semi-abstract in epic surreal canvases. Matta believed that art and poetry can change lives, and was very involved in the social movements of the 1960s and 1970s. He was a strong supporter of the socialist government of president Salvador Allende in Chile. A 4×24 meter mural of his entitled The First Goal of the Chilean People, was painted over with 16 coats of paint by the military regime of Augusto Pinochet following their violent overthrow of Salvador Allende in 1973. In 2005 the mural was discovered by local officials. In 2008 the mural was completely restored at a cost of $43,000, and is displayed today in Santiago at the La Granja city hall. 
Matta was of Spanish, Basque and French descent.  Born in Santiago, he studied architecture and interior design at the Pontificia Universidad Católica de Chile in Santiago, and graduated in 1935. That spring, he journeyed from Peru to Panama and completed surreal drawings of many of the geographical features he witnessed. He first encountered Europe while serving in the Merchant Marine after graduating.  His travels in Europe and the USA led him to meet artists such as Arshile Gorky, René Magritte, Salvador Dalí, André Breton, and Le Corbusier.
Another perspective that reflects diversity is in the work by Eugenio Dittborn, which questions traditions and systems and belongs to the so-called advance guard scene of the 1980s and 90s. With his Aeropostal Paintings, Dittborn criticizes traditional society and traditional plastic arts media and takes on the codes of globalization: he stakes his distance out from the origin, both materially and symbolically, and then comes back with his work full of other perspectives. Arturo Duclos, Alfredo Jaar and Juan Castillo are also part of the advance guard scene and there are studies and theoretical publications on them available for those interested.
There are playful, political, theoretical and apparently innocent perspectives and there are diverse traditions, from avant-garde easels to contemporary Chilean plastic art, which also has room for religious, political and graffiti muralism, photography and comics.
Within abstract expressionism were two broad groupings: the so-called action painters, who attacked their canvases with expressive brush strokes; and the colour field painters who filled their canvases with large areas of a single colour.
Abstract expressionism is the term applied to new forms of abstract art developed by American painters such as Jackson Pollock, Mark Rothko and Willem de Kooning in the 1940s and 1950s. It is often characterised by gestural brush-strokes or mark-making, and the impression of spontaneity