Rufino Tamayo

Rufino Tamayo, "Personaje con Sombrero" 1979

1979

Fritz Scholder (1937 2005) Walking Dog 1977 Lithograph, Edition 80/100 Hand signed "Scholder" lower right, numbered lower left. Full sheet size, 22 inches x 30 inches. Printer: Tam...

Un Hombre Primitivo Francisco Franklin Color pencil on paper 1987 Hand signed "Francisco, 1987" in pencil. 18 inches H. X 24 inches W., 24.25 inches H. x 29.75 inches W. in artist's hand carved frame. A wonderful mid career example of this artist's work. This work is in excellent original condition, the paper is crisp and the colors rich. The artist's hand carved and hand painted frame appears with a couple dings. Frank Francisco Franklin is an American artist whose roots are strongly linked with those of the Mexican people...

An untitled signed bronze sculpture by the Mexican artist, Victor Salmones (1937 - 1989) from an edition of 10. Numbered 1 of 10. Signature "Victor Salmones. 1/10" in cast. In excellent original condition. Victor Salmones (1937-1989) was the most widely known sculptor living and working in Mexico during his lifetime. His sculptures won him universal acclaim and are held in the collections of museums, corporations, cities, universities and private collectors in some 30 countries. During his career, he was highly sought after and increasingly involved in the execution of commissions for major public works around the world. Salmones developed his love and talent for creating sculpture by working with clay in high school. He attended the Instituto de Bellas Artes (Mexican National Institute of Fine Arts), where he was an apprentice to the Bauhaus master, Otto Hoffman. He was trained to use the exacting, age-old lost wax method of casting and worked principally in bronze. Hoffman's encouragement led to the opening of Victor's own sculpture workshop in Cuernavaca in 1966. In 1967, Salmones’ fluid bronze “Adam” won first prize at the Biennale Exposition of the National Museum of Modern Art. His work continued to win the highest critical acclaim at subsequent Biennale expositions, and in 1971, over hundreds of entries, his life-size bronze Narcissus...

Signed "Heldt" on the painting and in pencil on the back of the canvas, " Hopscotch - Carl Heldt - Tucson" "Hopscotch", is an impressive and compelling mid...

"Cabeza en Gris" by Rufino Tamayo is a Figurative Abstraction lithograph limited edition measuring 30x22 in. The piece is framed beautifully with a white mat with a silver liner and ...

Affiche avant Lettre (Mujer Suite) Rufino Tamayo Mexican (1899–1991) Date: 1969 Lithograph Poster, signed in the plate Size: 32.5 x 24 in. (82.55 x 60.96 cm)

Mixografia “Man in Black” by well-known Mexico artist Rufino Tamayo (1891-1991). Signed “R. Tamayo” in pencil lower right. Numbered in pencil “60/140" lower left. In excellent unfram...

This artwork titled "Mujer Con Sombrero (Woman with Hat)" 1972 is a large original colors lithograph on Arches paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is hand signed and numbered 81/100. in pencil by the artist. The artwork size 36.35 x 25.85 inches, sheet size is 37.25 x 26.25 inches, framed size is 52.25 x 40.5 inches. Published by Transworld Art, New York , Printed by Bank Street Atelier, New York. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #132 page 123. Custom framed in a wooden black and silver frame, with silver bevel and fabric matting. It is in excellent condition. About the artist: A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo...