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Federico Castellon'Body and Soul' — Mid-20th Century Surrealism1938
1938
About the Item
Federico Castellon, 'Body and Soul', 1938, lithograph, edition 30, Freundlich 3. Signed in pencil. Signed in the stone, lower left. A fine, richly-inked, atmospheric impression on cream, wove paper, with full margins ( 13/4 to 2 3/8 inches), in excellent condition. Matted to museum standards, unframed. Scarce.
Image size 11 1/4 x 15 1/8 inches (286 x 384 mm); sheet size 15 3/4 x 20 5/16 inches (400 x 516 mm).
In this striking, surrealist composition, Castellon alludes to man's age-old concerns of earthly impermanence and mystical transcendence.
An impression of this work is held in the permanent collection of the Philadelphia Museum of Art.
ABOUT THE ARTIST
“The art of Federico Castellon has a baffling yet fascinating quality. ...The artist sojourns in a world of free imagination, untrammeled by a logic of literal fact. He brings report of strange realms, uncharted seas of symbolism in the unconscious. The emblems and images which he brings back to us are clothed with the most minute and convincing verisimilitude and kind of superrealism."
—Carl Zigrosser, Federico Castellon, His Graphic Works, 1936-1971, August L. Freundlich, Syracuse University, New York, 1978.
Federico Castellon was only seven years old when his family immigrated from Almería, Spain, to Brooklyn, New York. He began sketching at an early age, as imaginative drawings provided an outlet for expression, which was particularly useful for Castellon, given his limited English at the time. Although his teachers recognized his talents as a draftsman, he remained largely self-taught. As a teenager, Castellon regularly visited museums in New York to study the Old Masters. After gaining mastery of realistic rendering, he became inspired by the work of the great modern artists, including Pablo Picasso, Georges Rouault, Diego Rivera, and Giorgio de Chirico.
Shortly after graduating from Erasmus High School, he completed an arts and sciences mural for the school. The mural, informed by his interest in European modernism, attracted critical attention and was exhibited in New York at Raymond and Raymond Galleries before being permanently installed in the school. At about this time, Castellon was introduced to Diego Rivera at a lecture the artist gave on his murals for Rockefeller Center. The older artist took an interest in the young man’s work and brought Castellon’s drawings to the attention of Carl Zigrosser, the Director of the Weyhe Gallery in New York, who gave the eighteen-year-old Castellon his first solo exhibition.
In 1934, with Rivera’s help, Castellon was awarded a four-year fellowship sponsored by the Spanish Government to study art and travel throughout Europe. During this time, he studied painting and printmaking, exhibiting his work at the Casa de Velázquez in Madrid and in the 1935 Paris Exhibition of Spanish and American Artists, which featured Pablo Picasso, Juan Gris, and Joan Miró.
In 1937, Castellon returned to New York and made his first lithograph with master lithographer George Miller. He exhibited in the Whitney Museum Annual in 1937 and 1938. In 1940, the Pennsylvania Academy of the Fine Arts awarded him the Eyre Medal for his lithograph Rendez-vous in a Landscape. He also exhibited at the Weyhe Gallery and the Art Institute of Chicago. In the same year, he received the first of two Guggenheim fellowships. In 1942, he participated in an exhibition at Carnegie Institute.
Although his formal education ended with high school, Castellon remained an avid reader with interests in psychology and philosophy. He became a United States citizen in 1943, and throughout the 1940s and 1950s, his work was informed by his travels abroad, including to China with the U.S. Army, Italy on his second Guggenheim fellowship, and Paris and Madrid, where he relocated his family for a brief period during the late 1950s. He also began teaching during this time, holding successive positions at Columbia University, Pratt Institute, the New School for Social Research, the National Academy of Design, and Queens College. He also took on commissions from American periodicals, most notably LIFE magazine.
In 1947, Castellon exhibited at the Philadelphia Art Alliance and again at the Carnegie Institute. In 1949, he was awarded a National Institute Arts and Letters Grant. He was elected to the National Academy and held solo exhibitions in Paris, Bombay, and New York at Associated American Artists.
Life magazine commissioned Castellon to create a series of paintings illustrating “Memorable Victories in the Fight of Justice” in 1951. He spent 1954 traveling with solo exhibitions of his paintings and graphics throughout South America. Life magazine published his work again in 1955, ‘56, and ‘57. From 1958 to 1960, he began working in sculpture, and from 1961 to 1963, he traveled with his family to France, Spain, and Italy. In 1963, he executed a series of lithographs at the renowned L’Atelier de Jacques Desjobert, Paris, and was elected to the National Academy of Design. Returning to the U.S. in 1964, Castellon held a solo exhibition at Terry Dintenfass Gallery in New York, exhibited at the New York World’s Fair, and received awards from the Philadelphia Print Club and the Society of American Graphic Artists. In 1966, he held a solo exhibition of graphic work at Associated American Artists, and in 1968, he was elected a Member of the National Institute of Arts and Letters. In 1971, the last year of his life, he exhibited at the Biennale Internationale de l'Estampe d'Épinal in Paris.
Castellón's prints and drawings from the 1930s represent some of the earliest examples of surrealism created in the United States. These highly original works predate his travels abroad and the Museum of Modern Art’s seminal exhibition, 'Fantastic Art, Dada, and Surrealism,' in July 1937.
Castellon's work is held in numerous museum collections in America and abroad, including the Amon Carter Museum of American Art, Art Institute of Chicago, Brooklyn Museum, The Butler Institute of American Art, Carnegie Museum of Art, Cleveland Museum of Art, Denver Art Museum, Instituto de Estudios Almerienses (Spain), The Isreal Museum (Jerusalem), Library of Congress, Los Angeles County Museum of Art, Museo Nacional Centro de Arte Reina Sofia (Spain), New Orleans Museum of Art, Pennsylvania Academy of the Fine Arts, Princeton University Art Museum, Metropolitan Museum of Art, Museum of Modern Art, Portland Art Museum, Saint Louis Art Museum, Smithsonian American Art Museum, Springfield Museum of Art, Washington County Museum of Fine Arts, and the Whitney Museum of American Art.
- Creator:Federico Castellon (1914-1971, American)
- Creation Year:1938
- Dimensions:Height: 11.25 in (28.58 cm)Width: 14 in (35.56 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Myrtle Beach, SC
- Reference Number:Seller: 1032351stDibs: LU532316357312
Federico Castellon
Federico Castellón (1914-1971) was a Spanish-American artist known for his distinctive style that blended surrealism and realism. Born on the island of Almeria, Spain, he moved to the United States with his family at the age of seven. His artistic talent was evident from a young age, and he received a scholarship to study at the New York School of Fine and Applied Art when he was just 15. Castellón's work is characterized by a dreamlike quality, often incorporating elements of fantasy and a strong narrative sense. His early exposure to both Spanish and American cultures profoundly influenced his artistic vision, blending European surrealism with American realism to create a unique visual language. He was particularly renowned for his lithographs, etchings, and illustrations. His illustrations for Edgar Allan Poe's "The Masque of the Red Death" and other literary works are highly regarded for their intricate detail and haunting imagery. In addition to his printmaking and illustration work, Castellón was also a skilled painter and muralist. His paintings often featured surreal, dream-like scenes with a focus on human figures, and his murals are noted for their dynamic composition and rich symbolism. Throughout his career, Castellón received numerous awards and honors, and his work was exhibited widely in the United States and Europe. His legacy continues to influence artists and is recognized in the art world for its unique blend of surrealism and realism, along with a profound narrative quality that speaks to the human condition.
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“The sign of the true artist is one who creates a complete universe, invents new plants, new animals, new figures to transfer to us a new vision of the universe in which dream and reality fuse. Ian Hugo's plants have eyes, the birds have the delicacy of dragonflies, their feathers have the shape of fans. Humor is apparent in every gesture. He uses a fine spider web to give a feeling of flight, speed, lightness. The body of a woman reveals the structure of a leaf, a plant. Wings are moving in a world unified by mythological themes. This is an animated world, humorous and levitating, elusive and decorative, which by its unique forms and shapes gives us the sensation of a rebirth, a liberation from the usual, the familiar, a visit to a new planet.”
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Hugo began producing surreal images often used to illustrate Nin's books. For Nin, his unwavering love and financial support were indispensable—Hugo was the "fixed center, core... my home, my refuge" (Sept. 16, 1937, Nearer the Moon, The Unexpurgated Diary of Anais Nin, 1937-!939). Fictionalized portraits of Higo and Nin appear in Philip Kaufman's 1990 film drama of a literary love triangle, Henry & June.
Inspired by comments that viewers saw motion in his engravings, Hugo took up filmmaking. He asked the avant-garde filmmaker Sasha Hammid for instruction but was told, "Use the camera yourself, make your own mistakes, make your own style." Hugo embarked on an exploration of the film medium as a vehicle to delve into his dreams, his unconscious, and his memories. Without a specific plan, He would collect resonant images, then reorder or superimpose them, seeking a sense of self-connection through the poetic juxtapositions he created. These intuitive explorations resembled the mystical evocations of his engravings, which he described in 1946 as "hieroglyphs of a language in which our unconscious is trying to convey important, urgent messages."
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Hugo lived the last two decades of his life in a New York apartment high above street level. In the evenings, surrounded by an electrically illuminated man...
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“The sign of the true artist is one who creates a complete universe, invents new plants, new animals, new figures to transfer to us a new vision of the universe in which dream and reality fuse. Ian Hugo's plants have eyes, the birds have the delicacy of dragonflies, their feathers have the shape of fans. Humor is apparent in every gesture. He uses a fine spider web to give a feeling of flight, speed, lightness. The body of a woman reveals the structure of a leaf, a plant. Wings are moving in a world unified by mythological themes. This is an animated world, humorous and levitating, elusive and decorative, which by its unique forms and shapes gives us the sensation of a rebirth, a liberation from the usual, the familiar, a visit to a new planet.”
—Anais Nin, from the forward to the portfolio ‘Ten Engravings’
ABOUT THE ARTIST
Ian Hugo was born Hugh Parker Guiler in Boston, Massachusetts, on February 15, 1898. His childhood was spent in Puerto Rico—a "tropical paradise," the memory of which stayed with him and surfaced in both his engravings and his films. He attended school in Scotland and graduated from Columbia University where he studied economics and literature.
Hugo was working with the National City Bank when he met and married author Anais Nin in 1923. The couple moved to Paris the following year, where Nin's diary and Guiler's artistic aspirations flowered. Guiler feared his business associates would not understand his interests in art and music, let alone those of his wife, so he began a second, creative life as Ian Hugo. Ian and Anais moved to New York in 1939. The following year he took up engraving and etching, working at Stanley William Hayter’s experimental printmaking workshop Atelier 17, established at the New School for Social Research.
Hugo began producing surreal images often used to illustrate Nin's books. For Nin, his unwavering love and financial support were indispensable—Hugo was the "fixed center, core... my home, my refuge" (Sept. 16, 1937, Nearer the Moon, The Unexpurgated Diary of Anais Nin, 1937-!939). Fictionalized portraits of Higo and Nin appear in Philip Kaufman's 1990 film drama of a literary love triangle, Henry & June.
Inspired by comments that viewers saw motion in his engravings, Hugo took up filmmaking. He asked the avant-garde filmmaker Sasha Hammid for instruction but was told, "Use the camera yourself, make your own mistakes, make your own style." Hugo embarked on an exploration of the film medium as a vehicle to delve into his dreams, his unconscious, and his memories. Without a specific plan, He would collect resonant images, then reorder or superimpose them, seeking a sense of self-connection through the poetic juxtapositions he created. These intuitive explorations resembled the mystical evocations of his engravings, which he described in 1946 as "hieroglyphs of a language in which our unconscious is trying to convey important, urgent messages."
In the underwater world of his film ‘Bells of Atlantis,’ the light originates from the world above the surface; it is otherworldly, out of place, yet essential. In ‘Jazz of Lights,’ the street lights of Times Square become in Nin's words, "an ephemeral flow of sensations." This flow that she also calls "phantasmagorical" had a crucial impact on Stan Brakhage, who said that without Jazz of Lights (1954), "there would have been no Anticipation of the Night" his autobiographical film which ushered in a new era of experimental modernist filmmaking.
Hugo lived the last two decades of his life in a New York apartment high above street level. In the evenings, surrounded by an electrically illuminated man...
Category
1940s Surrealist Figurative Prints
Materials
Engraving
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Located in Myrtle Beach, SC
Ian Hugo, 'Together', from the portfolio 'Ten Engravings'. engraving, 1946, edition 50. Signed, dated, titled, and numbered '22/50' in pencil. A fine impression, with delicate overall plate tone, on cream wove paper, the full sheet with wide margins (2 7/8 to 5 1/2 inches), in excellent condition. With the blind stamp 'madeleine-claude jobrack EDITIONS', in the bottom right margin. Matted to museum standards, unframed.
Image size 5 7/8 x 4 7/8 inches (149 x 124 mm); sheet size 15 x 11 1/8 inches (381 x 283 mm).
Collection: Indianapolis Museum of Art.
Ian Hugo originally created "Ten Engravings" in 1945 and the portfolio included a foreword by his partner and collaborator, Anais Nin. In 1978, Hugo republished the portfolio with Madeleine-Claude Jobrack, an American master printmaker who studied under Stanley William Hayter at Atelier 17, Paris, and with Johnny Friedlaender. When Jobrack returned to the States she managed the Robert Blackburn Printmaking Studio in New York before opening her own printing studio, Madeleine-Claude Jobrak Editions.
“The sign of the true artist is one who creates a complete universe, invents new plants, new animals, new figures to transfer to us a new vision of the universe in which dream and reality fuse. Ian Hugo's plants have eyes, the birds have the delicacy of dragonflies, their feathers have the shape of fans. Humor is apparent in every gesture. He uses a fine spider web to give a feeling of flight, speed, lightness. The body of a woman reveals the structure of a leaf, a plant. Wings are moving in a world unified by mythological themes. This is an animated world, humorous and levitating, elusive and decorative, which by its unique forms and shapes gives us the sensation of a rebirth, a liberation from the usual, the familiar, a visit to a new planet.”
—Anais Nin, from the forward to the portfolio ‘Ten Engravings’
ABOUT THE ARTIST
Ian Hugo was born Hugh Parker Guiler in Boston, Massachusetts, on February 15, 1898. His childhood was spent in Puerto Rico—a "tropical paradise," the memory of which stayed with him and surfaced in both his engravings and his films. He attended school in Scotland and graduated from Columbia University where he studied economics and literature.
Hugo was working with the National City Bank when he met and married author Anais Nin in 1923. The couple moved to Paris the following year, where Nin's diary and Guiler's artistic aspirations flowered. Guiler feared his business associates would not understand his interests in art and music, let alone those of his wife, so he began a second, creative life as Ian Hugo. Ian and Anais moved to New York in 1939. The following year he took up engraving and etching, working at Stanley William Hayter’s experimental printmaking workshop Atelier 17, established at the New School for Social Research.
Hugo began producing surreal images often used to illustrate Nin's books. For Nin, his unwavering love and financial support were indispensable—Hugo was the "fixed center, core... my home, my refuge" (Sept. 16, 1937, Nearer the Moon, The Unexpurgated Diary of Anais Nin, 1937-!939). Fictionalized portraits of Higo and Nin appear in Philip Kaufman's 1990 film drama of a literary love triangle, Henry & June.
Inspired by comments that viewers saw motion in his engravings, Hugo took up filmmaking. He asked the avant-garde filmmaker Sasha Hammid for instruction but was told, "Use the camera yourself, make your own mistakes, make your own style." Hugo embarked on an exploration of the film medium as a vehicle to delve into his dreams, his unconscious, and his memories. Without a specific plan, He would collect resonant images, then reorder or superimpose them, seeking a sense of self-connection through the poetic juxtapositions he created. These intuitive explorations resembled the mystical evocations of his engravings, which he described in 1946 as "hieroglyphs of a language in which our unconscious is trying to convey important, urgent messages."
In the underwater world of his film ‘Bells of Atlantis,’ the light originates from the world above the surface; it is otherworldly, out of place, yet essential. In ‘Jazz of Lights,’ the street lights of Times Square become in Nin's words, "an ephemeral flow of sensations." This flow that she also calls "phantasmagorical" had a crucial impact on Stan Brakhage, who said that without Jazz of Lights (1954), "there would have been no Anticipation of the Night" his autobiographical film which ushered in a new era of experimental modernist filmmaking.
Hugo lived the last two decades of his life in a New York apartment high above street level. In the evenings, surrounded by an electrically illuminated man...
Category
1940s Surrealist Figurative Prints
Materials
Engraving
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