Rufino Tamayo More Prints
Mexican, 1899-1991
Rufino Tamayo was born in Oaxaca, Mexico, in 1899 to parents Manuel Arellanes and Florentina Tamayo. Tamayo was active in the mid-20th century in Mexico and New York, painting figurative abstraction with surrealist influences. Although Tamayo studied drawing at the Academy of Art at San Carlos as a young adult, he became dissatisfied and eventually decided to study on his own.
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Artist: Rufino Tamayo
Rufino Tamayo Original Mixografica, 1976, Sol
By Rufino Tamayo
Located in Phoenix, AZ
Mixografia on Paper “Sol (The Sun)” by well-known Mexico artist Rufino Tamayo (1891-1991).
Signed “R. Tamayo” lower right. Numbered lower left 96/140. Created 1976.
In excellent cond...
Category
1970s Rufino Tamayo More Prints
Materials
Paper
Mascara Roja
By Rufino Tamayo
Located in San Francisco, CA
This artwork titled "Mascara Roja" 1969 is an original colors lithograph on B.F.K. Rives paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is hand signed and inscribed H.C. (Hors Commerce) in pencil by the artist. The image size is 21 x 27.25 inches, framed size is 37.25 x 42 inches. Published by Touchtone Publisher, New York, printed by Ateliers Desjobert, Paris. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #124. Custom framed in a wooden gold leaf frame, with gold and red spacer 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...
Category
Mid-20th Century Modern Rufino Tamayo More Prints
Materials
Lithograph
Figura en Verde
By Rufino Tamayo
Located in New York, NY
Color Mixografía. One of 10 numbered artist's proofs, aside from the edition of 100. Signed, inscribed "P. de A." and numbered X/X in white pencil, lower margin. Printed and publish...
Category
1970s Modern Rufino Tamayo More Prints
Materials
Lithograph, Color
Hombre en la Ventana
By Rufino Tamayo
Located in New York, NY
Pencil signed and numbered 74/100 in black crayon in lower margin. Printed by Taller de Gráfica Mexicana, Mexico City.
A very good impression with vibrant colors. The current prin...
Category
1980s Modern Rufino Tamayo More Prints
Materials
Handmade Paper, Color
Untitled
By Rufino Tamayo
Located in Barcelona, BARCELONA
The painting is being offered with a work and authenticity certificate
Category
1990s Abstract Expressionist Rufino Tamayo More Prints
Materials
Lithograph
Personaje con Red
By Rufino Tamayo
Located in New York, NY
A very good impression of this large, color Mixografía print on handmade paper. Signed and numbered 20/100 in pencil. Printed and published by Taller de Gráfica Mexicana, Mexico City...
Category
1980s Surrealist Rufino Tamayo More Prints
Materials
Handmade Paper, Color
Observador de Pajaros
By Rufino Tamayo
Located in Missouri, MO
"Observador de Pajaros" 1950
By. Rufino Tamayo (Mexican, 1899-1991)
Edition 83/200 Lower Right
Signed Lower Left
Unframed: 15.5" x 22.5"
Framed: 21.75" x 28.25"
Rufino Tamayo (August 26, 1899- June 24, 1991)
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...
Category
20th Century Abstract Rufino Tamayo More Prints
Materials
Lithograph
Price Upon Request
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"Cabeza con Sombrero" Mixografia
By Rufino Tamayo
Located in San Francisco, CA
This artwork titled "Cabeza con Sombrero" 1977, is a original Color Mixografia on Arches paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is hand signed and numbered 46/100 in pencil by the artist. The sartwork size is 17 x 11.85 inches, framed size is 29.25 x 23.5 inches. Printed by Taller de Grafica Mexicana, Mexico. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #227 page 184. Custom framed in a wooden gold frame, with double spacer and double fabric matting. It is in excellent condition.
Will provide the buyer with a certificate of authenticity from our gallery and photocopy of the pages related to this artwork from the artist's catalogue raisonne.
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...
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Mid-20th Century Modern Rufino Tamayo More Prints
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Rufino Tamayo more prints for sale on 1stDibs.
Find a wide variety of authentic Rufino Tamayo more prints available for sale on 1stDibs. You can also browse by medium to find art by Rufino Tamayo in lithograph, handmade paper, paper and more. Much of the original work by this artist or collective was created during the 20th century and is mostly associated with the modern style. Not every interior allows for large Rufino Tamayo more prints, so small editions measuring 21 inches across are available. Customers who are interested in this artist might also find the work of Jasper Johns, Jean Dubuffet, and Adolph Gottlieb. Rufino Tamayo more prints prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $5,011 and tops out at $12,500, while the average work can sell for $9,500.
Artists Similar to Rufino Tamayo
Questions About Rufino Tamayo More Prints
- 1stDibs ExpertApril 5, 2022Mexican painter Rufino Tamayo had over 1300 oil paintings. He also worked in a variety of other mediums, but most of his work was done with vibrantly colored oil paint and this is the highlight of his legacy. Browse an array of authentic Rufino Tamayo pieces and prints on 1stDibs.
- 1stDibs ExpertFebruary 13, 2024The type of art that Rufino Tamayo painted was primarily figurative abstraction. Although Tamayo studied drawing at the Academy of Art at San Carlos as a young adult, the Mexican artist became dissatisfied and eventually decided to study on his own. Some of his most famous works include Watermelons, Three People, Moon and Sun, Woman in Grey, The Troubadour and Moon Dog. Find a variety of Rufino Tamayo art on 1stDibs.