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Fritz ScholderFritz Scholder, "The Sarcophagus" , 19791979
1979
About the Item
Color lithograph by the internationally known artist Fritz Scholder published in 1979 by the Tamarind Institute, Albuquerque, New Mexico. This is lithograph number 125 of 150. It is hand signed with pencil on the lower left. Size: 30 X 22 inches.
Fritz Scholder (1937-2005)
Fritz Scholder was born on October 6, 1937 in Breckenridge, Missouri. His paternal grandmother was a member of the Luiseño tribe of Mission Indians. Throughout his childhood, the painter's family moved frequently, living mostly in small towns in the Dakotas and Wisconsin. In the long winter evenings, young Fritz amused himself by drawing, an interest that was soon channeled into serious art study. Although Scholder did not consider himself an Indian, he would be regarded by many as a leader of the New American Indian Art movement. The painter Oscar Howe, a Sioux Indian, introduced him to modern art while he was still in high school. In 1957, the family settled in Sacramento, where Scholder earned a Bachelor of Arts degree at Sacramento State University. At Sacramento, the painter Wayne Thiebaud exposed Scholder to the Pop Art movement. Thiebaud also arranged Scholder's first solo exhibition. After graduating Scholder taught public school in Sacramento. He then moved to Arizona to earn his Master’s Degree in Fine Art at the University of Arizona. From 1964 to 1969 he taught painting and art history at the Institute of American Indian Arts in Santa Fe, New Mexico. In time Scholder created an extraordinary fusion of abstract expressionism, surrealism and pop art to express his unique vision of the Southwestern scene and the Native experience.
Fritz is perhaps most associated with his Indian series depicting the stereotypical Native American which shocked the public upon its release, stirring an incredible controversy. Over a dozen books have been published on Fritz Scholder and his work, and he has been profiled in two documentaries for public television. Scholder artwork has exhibited throughout the world including such far off destinations as St. Petersburg, Japan, France, Germany, China and as well as throughout the United States. He has been bestowed many high honors for his achievements in the art world and specifically Native American Art. In 1985 he was honored with the Golden Plate Award from the American Academy of Achievement. He received five honorary degrees from Ripon College, University of Arizona, Concordia College, The College of Santa Fe, and the first honorary degree from the University of Wisconsin, Superior. In 2002, Scholder was awarded the Arizona Governor’s Award. Scholder lived in Scottsdale, AZ for several years before his death in 2005. A memorial was held for Scholder at the Heard Museum in Phoenix, AZ that was attended by hundreds of local residents, friends, fellow artists, and others from the art community.
- Creator:Fritz Scholder (1937-2005, Native American)
- Creation Year:1979
- Dimensions:Height: 30 in (76.2 cm)Width: 22 in (55.88 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Phoenix, AZ
- Reference Number:1stDibs: LU2623215172002
Fritz Scholder
Fritz Scholder was born in Breckenridge, Minnesota, on October 6, 1937. Scholder was a prominent Indian portrait, figure and genre painter in Arizona. His father was part Indian and Fritz Scholder chose to focus his artwork on this part of his lineage and to express both an appreciation and disdain for Indian customs, traditions and daily existence. In his childhood, where he was the fifth sibling in a primarily German family, he showed a passion for collecting, which has dominated his largely autobiographical art. He studied at the University of Kansas, Wisconsin State University and with Wayne Thiebaud at Sacramento College in California. He earned a master of fine arts degree from the University of Arizona. A long-time resident of Scottsdale, Arizona, he has filled several artist-in-residence positions including Dartmouth College and the Oklahoma Summer Arts Institute. In his work, he frequently showed the harsh, realistic side of Indians' lives and deaths including the effects of alcohol and other dissipations, but some of his depictions are humorous such as Indians on horseback carrying umbrellas. His brush-work is generally swift, and the tone often somber and surreal. A major influence on his work was the contemporary British artist, Francis Bacon, from whom Scholder adapted ironic distortions into his canvases. In Scottsdale, he lived in an adobe-walled oasis of palm trees and oleander, amid skulls and skeletons. In the garden, several of Mr. Scholder's sculptures feature skull-like heads. In the library, an 18th-century skull engraved with witchcraft symbols shared shelf space with books printed before 1500. And the porch had been converted into a skull room, complete with Mexican Day of the Dead paraphernalia that spill from cabinets and rest on shelves and antique chairs. In a New York Times interview of August 12, 2001, Scholder said that despite the death-related items with which he surrounds himself, “I consider myself a natural optimist which might be surprising because I like the dark side of things. That's simply because of intellectual curiosity. I celebrate each day. I truly wake up happy every morning”. In appearance, he was rather a heavy set with shoulder-length hair and a radiant smile. He was shy and idiosyncratic including the driving of a gold 1979 Rolls-Royce fitted with tinted windows. His career includes etchings, aquatints, lithographs, monotypes, photographs, collages, sculptures and mixed media, but he is best known for his paintings. He was married to Lisa Markgraf Fisher and had one son. In his artwork, death had been a constant preoccupation for Scholder. He said, “Death is completely fearful, terrible violence that intrudes into what people believe. It's not what I want to think about, but it's there and is either the worst practical joke in the creation or the fault of whoever made all this up”. Fritz Scholder died February 10, 2005, at age 67 in Scottsdale, and a memorial service was held at the Heard Museum in Phoenix.
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Statement: Luis Jimenez, in his work, celebrates the vitality of life. . . . Jimenez es un hijo de la frontera; he knows its people and the landscape. It is the transformation of these people into art that is his most important contribution to the art of this vast region which stretches between Mexico and the United States.
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Jimenez studied architecture at the University of Texas, Austin (UTA), and also took art courses in which he first created sculptures with wood, steel, and fiberglass, choosing the latter because of its association with U.S. popular culture. He subsequently became one of the artists who made fiberglass an acceptable medium in the 1960s. In 1964 Jimenez received his B.S. in art from UTA, and he continued his studies at the Universidad Nacional Autonoma de Mexico in Mexico City.
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Statement: Luis Jimenez, in his work, celebrates the vitality of life. . . . Jimenez es un hijo de la frontera; he knows its people and the landscape. It is the transformation of these people into art that is his most important contribution to the art of this vast region which stretches between Mexico and the United States.
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Jimenez studied architecture at the University of Texas, Austin (UTA), and also took art courses in which he first created sculptures with wood, steel, and fiberglass, choosing the latter because of its association with U.S. popular culture. He subsequently became one of the artists who made fiberglass an acceptable medium in the 1960s. In 1964 Jimenez received his B.S. in art from UTA, and he continued his studies at the Universidad Nacional Autnoma de Mexico in Mexico City.
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Statement: Luis Jimenez, in his work, celebrates the vitality of life. . . . Jimenez es un hijo de la frontera; he knows its people and the landscape. It is the transformation of these people into art that is his most important contribution to the art of this vast region which stretches between Mexico and the United States.
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Rudolfo Anaya (passage chosen by the artist), A View from La Frontera, Man on Fire: Luis Jimnez, pp. 1, 3, 6Biography: Luis Jimnez was born in Texas to parents who had emigrated from Mexico to the United States; he would later dedicate his 1989 sculpture Border Crossing to his father, who had entered the country illegally. The elder Jimnez was a neon sign designer in El Paso, and Luis worked with him as a youth. His experience working in the neon shop and his fascination with U.S. car culture would both become major influences on his art career.
Jimenez studied architecture at the University of Texas, Austin (UTA), and also took art courses in which he first created sculptures with wood, steel, and fiberglass, choosing the latter because of its association with U.S. popular culture. He subsequently became one of the artists who made fiberglass an acceptable medium in the 1960s. In 1964 Jimenez received his B.S. in art from UTA, and he continued his studies at the Universidad Nacional Autnoma de Mexico in Mexico City.
In 1966 he moved to New York City and worked as an assistant to sculptor Seymour Lipton. Jimnez began to exhibit his art while in New York and in 1972 moved to New Mexico to focus on creating public sculptures, even as he maintained his diverse output of drawings, prints, and lithographs.
Drawing on his early experiences, Jimnez creates works that come from a border perspective, one that draws upon the hybridity bred by culture clashes. Often socially and politically informed, his works speak not only in regional terms, those germane to the southwestern United States, but to broader, more global issues as well. They exhibit a profoundly Chicano aesthetic and sensibility, one that is informed by Mexican and Mexican American traditions, North American popular culture, Chicano cultural icons, and images and themes unique to the Southwest. Death, sexuality, and the struggle of the common people are frequent themes.
Inspired by authors who write in an autobiographical style, Jimnez creates works that function as personal narrative yet are also able to make statements about culture in more global terms. His use of bold colors and lines, a legacy from his fathers work as a neon sign maker, lends a dynamic sensuality to his work, one that is particularly evident in his monumental fiberglass and acrylic urethane sculptural works
Many of Jimnezs works correspond to scholar Toms Ybarra-Fraustos definition of the Chicano aesthetic of rasquachismo, a lowbrow sensibility that appeals to the working class in that it applies to objects that subvert expressions of the mainstream or dominant culture. Creating art that speaks to the people, Jimnez is able to transform regional and culturally specific myths and symbols into globally recognized and relevant icons.
Exhibitions:
In addition to his personal work, Jimnez has been commissioned for numerous public art projects. In 1999 his sculpture Southwest Piet was designated a National Treasure by First Lady Hillary Clinton.
The many exhibitions featuring his work have included Human Concern/Personal Torment (Whitney Museum of American Art, New York, 1969).
The First International Motorcycle Art Show (Phoenix Art Museum, Phoenix, AZ, 1973).
Three Texas Artists (Centre Cultural Americaine, USIS, Paris, 1977),
Recent Trends in Collecting (Smithsonian Institution, Washington, DC, 1982).
Committed to Print (Museum of Modern Art, New York, 1989)
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Laguna Gloria Art Museum, Austin, 1990.
The Whitney Biennial (Whitney Museum of American Art, New York, 1991)
Man On Fire: Luis Jimnez (Albuquerque Museum of Art, NM, 1994-95).
47th Annual Purchase Exhibition (American Academy of Arts and Letters, New York, 1995).
Traveling solo exhibition, Working Class Heroes: Images from the Popular Culture (1997-2000).
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• Original works by Maynard Dixon, Lon Megargee, Ed Mell, Fritz Scholder, Bill Schenck, Bill Lesch, Luis Jimenez, Greg
Singley, Dan Budnik, and other 20th century Western, WPA and Contemporary Southwestern artists.
• The Fine Art Estate of Lon Megargee
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Born, 1940, El Paso, Texas, died 2006, Hondo, New Mexico.
Statement: Luis Jimenez, in his work, celebrates the vitality of life. . . . Jimenez es un hijo de la frontera; he knows its people and the landscape. It is the transformation of these people into art that is his most important contribution to the art of this vast region which stretches between Mexico and the United States.
His subject matter utilizes the popular images of the cultura del norte, and a large part of it is depicted and transformed in the rough and tumble world of la frontera. He is also a son of el norte, and so he uses its materials and explores its emerging, popular myths. The tension and attraction of Jimnez’s work is that he always creates within the space of his two worlds, the Mexicano and the Americano. He constantly shows us the irony of the two forces which repel, while showing us glimpses of the synthesis he seeks. What a gift it has been to us for this talented artist to reflect on the soul of our region. He gives meaning to our existence and history.
Rudolfo Anaya (passage chosen by the artist), A View from La Frontera, Man on Fire: Luis Jimnez, pp. 1, 3, 6Biography: Luis Jimnez was born in Texas to parents who had emigrated from Mexico to the United States; he would later dedicate his 1989 sculpture Border Crossing to his father, who had entered the country illegally. The elder Jimenez was a neon sign designer in El Paso, and Luis worked with him as a youth. His experience working in the neon shop and his fascination with U.S. car culture would both become major influences on his art career.
Jimenez studied architecture at the University of Texas, Austin (UTA), and also took art courses in which he first created sculptures with wood, steel, and fiberglass, choosing the latter because of its association with U.S. popular culture. He subsequently became one of the artists who made fiberglass an acceptable medium in the 1960s. In 1964 Jimenez received his B.S. in art from UTA, and he continued his studies at the Universidad Nacional Autonoma de Mexico in Mexico City.
In 1966 he moved to New York City and worked as an assistant to sculptor Seymour Lipton. Jimnez began to exhibit his art while in New York and in 1972 moved to New Mexico to focus on creating public sculptures, even as he maintained his diverse output of drawings, prints, and lithographs.
Drawing on his early experiences, Jimenez creates works that come from a border perspective, one that draws upon the hybridity bred by culture clashes. Often socially and politically informed, his works speak not only in regional terms, those germane to the southwestern United States, but to broader, more global issues as well. They exhibit a profoundly Chicano aesthetic and sensibility, one that is informed by Mexican and Mexican American traditions, North American popular culture, Chicano cultural icons, and images and themes unique to the Southwest. Death, sexuality, and the struggle of the common people are frequent themes.
Inspired by authors who write in an autobiographical style, Jimenez creates works that function as personal narrative yet are also able to make statements about culture in more global terms. His use of bold colors and lines, a legacy from his fathers work as a neon sign maker, lends a dynamic sensuality to his work, one that is particularly evident in his monumental fiberglass and acrylic urethane sculptural works
Many of Jimenez's works correspond to scholar Toms Ybarra-Fraustos definition of the Chicano aesthetic of rasquachismo, a lowbrow sensibility that appeals to the working class in that it applies to objects that subvert expressions of the mainstream or dominant culture. Creating art that speaks to the people, Jimenez is able to transform regional and culturally specific myths and symbols into globally recognized and relevant icons.
Exhibitions:
In addition to his personal work, Jimenez has been commissioned for numerous public art projects. In 1999 his sculpture Southwest Piet was designated a National Treasure by First Lady Hillary Clinton.
The many exhibitions featuring his work have included Human Concern/Personal Torment (Whitney Museum of American Art, New York, 1969).
The First International Motorcycle Art Show (Phoenix Art Museum, Phoenix, AZ, 1973).
Three Texas Artists (Centre Cultural Americaine, USIS, Paris, 1977),
Recent Trends in Collecting (Smithsonian Institution, Washington, DC, 1982).
Committed to Print (Museum of Modern Art, New York, 1989)
Printmaking in Texas: The 1980s (Modern Art Museum, Fort Worth, TX.
Laguna Gloria Art Museum, Austin, 1990.
The Whitney Biennial (Whitney Museum of American Art, New York, 1991)
Man On Fire: Luis Jimnez (Albuquerque Museum of Art, NM, 1994-95).
47th Annual Purchase Exhibition (American Academy of Arts and Letters, New York, 1995).
Traveling solo exhibition, Working Class Heroes: Images from the Popular Culture (1997-2000).
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Collier Gallery has been in continuous operation for over 40 years. Originally located just off Main Street in downtown Scottsdale, Arizona, we have moved to Phoenix to accommodate and showcase our large inventory including:
• Original works by Maynard Dixon, Lon Megargee, Ed Mell, Fritz Scholder, Bill Schenck, Bill Lesch, Luis Jimenez, Greg
Singley, Dan Budnik, and other 20th century Western, WPA and Contemporary Southwestern artists.
• The Fine Art Estate of Lon Megargee
• Vintage rodeo...
Category
1970s Contemporary Figurative Prints
Materials
Lithograph
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By Fletcher Martin
Located in Phoenix, AZ
Fletcher Martin
Size: 16 x12 inches
Stone lithograph
Frame 25 x 21 inches
High, Wide and Handsome- - 1953, Lithograph.
Edition 250. Signed in pencil.
Shipping is included
Image...
Category
1950s Contemporary Figurative Prints
Materials
Lithograph
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By Luis Jiménez
Located in Phoenix, AZ
Artist: Luis Jimenez, American (1940 - 2006)
Title: Fiesta (Diptych)
Year: 1986
Medium: Two Lithographs on Arches, signed and numbered in pencil
Edition: 76
Size: 34 x 24 in. (86.36 ...
Category
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Materials
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Lithograph
JUDGEMENT OF PARIS 1924 LAGONDA Signed Lithograph, Minimalist Style, Luxury Car
By Henry Pearson
Located in Union City, NJ
JUDGEMENT OF PARIS w 1924 LAGONDA is an original hand drawn lithograph by the American artist Henry C. Pearson (1914 - 2006), printed using hand lithography techniques on archival Ar...
Category
1980s Contemporary Landscape Prints
Materials
Lithograph
