Jose Luis Cuevas (Mexican, 1934-2017), Visitors, Charenton IX, 1966 Color Lithograph
José Luis Cuevas (Mexican, 1934–2017) was a leading figure of Mexico's Generación de la Ruptura ("Breakaway Generation"), a movement that challenged the dominance of the Mexican muralist tradition and helped redefine modern Mexican art. Renowned for his expressive drawings, prints, and paintings, Cuevas focused on the marginalized, eccentric, and often troubled aspects of the human condition, drawing inspiration from artists such as Francisco Goya and Pablo Picasso. In 1966, Cuevas collaborated with the celebrated Tamarind Lithography Workshop in Los Angeles, one of the foremost centers of fine art lithography in the United States. During this period he produced the acclaimed Charenton portfolio, inspired by the infamous French asylum associated with the Marquis de Sade. Works from the Charenton series are held in major collections including the National Gallery of Art, the Museum of Modern Art, and the Norton Simon Museum.
Visitors (Charenton IX), 1965–66, published 1966, color lithograph printed in green and black on Nacre paper, from Cuevas’s Charenton portfolio. Two horizontal groups of figures occupy separate colored fields, their bodies exaggerated into swollen, heavily padded forms and rendered with Cuevas’s fine, nervous linework. The upper scene presents three seated figures facing inward, while the lower composition juxtaposes several distorted figures and heads. The work is one of 15 lithographs comprising the Charenton portfolio. Printed by Ernest de Soto and published by the Tamarind Lithography Workshop. The regular edition consisted of 20 impressions, with nine additional Tamarind impressions. Inscribed in graphite “Tam. Imp.” at lower left and signed and dated “Cuevas 65” at lower right, with the Tamarind and de Soto blindstamps. 1612 visible on the verso. “Tam. Imp.” identifies this example as an impression retained by the workshop outside the regular numbered edition. Sheet measures approximately 30.5 x 22.25 inches. The sheet shows light overall toning and minor handling, with scattered mottling to the verso and remnants of old mounting tape along the upper verso. Image presents well. Provenance of Martin and Enid Gleich.
Condition
Please review the photos for a complete understanding of condition.
Dimensions
30.5 x 22.25 in
Sale price
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Reserve
Time, Location
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José Luis Cuevas (Mexican, 1934–2017) was a leading figure of Mexico's Generación de la Ruptura ("Breakaway Generation"), a movement that challenged the dominance of the Mexican muralist tradition and helped redefine modern Mexican art. Renowned for his expressive drawings, prints, and paintings, Cuevas focused on the marginalized, eccentric, and often troubled aspects of the human condition, drawing inspiration from artists such as Francisco Goya and Pablo Picasso. In 1966, Cuevas collaborated with the celebrated Tamarind Lithography Workshop in Los Angeles, one of the foremost centers of fine art lithography in the United States. During this period he produced the acclaimed Charenton portfolio, inspired by the infamous French asylum associated with the Marquis de Sade. Works from the Charenton series are held in major collections including the National Gallery of Art, the Museum of Modern Art, and the Norton Simon Museum.
Visitors (Charenton IX), 1965–66, published 1966, color lithograph printed in green and black on Nacre paper, from Cuevas’s Charenton portfolio. Two horizontal groups of figures occupy separate colored fields, their bodies exaggerated into swollen, heavily padded forms and rendered with Cuevas’s fine, nervous linework. The upper scene presents three seated figures facing inward, while the lower composition juxtaposes several distorted figures and heads. The work is one of 15 lithographs comprising the Charenton portfolio. Printed by Ernest de Soto and published by the Tamarind Lithography Workshop. The regular edition consisted of 20 impressions, with nine additional Tamarind impressions. Inscribed in graphite “Tam. Imp.” at lower left and signed and dated “Cuevas 65” at lower right, with the Tamarind and de Soto blindstamps. 1612 visible on the verso. “Tam. Imp.” identifies this example as an impression retained by the workshop outside the regular numbered edition. Sheet measures approximately 30.5 x 22.25 inches. The sheet shows light overall toning and minor handling, with scattered mottling to the verso and remnants of old mounting tape along the upper verso. Image presents well. Provenance of Martin and Enid Gleich.
Condition
Please review the photos for a complete understanding of condition.
Dimensions
30.5 x 22.25 in
Sale price
Estimate
Reserve
Time, Location
Auction House
