Rufino Tamayo (1899-1991), The Family
Rufino Tamayo (1899-1991)
The Family
signed and dated 'R. Tamayo 1925' (lower left)
oil on canvas
28 ¾ x 33 in. (73 x 83.8 cm.)
Painted in 1925.
Post Lot Text
1 Mérida, Carlos. "Un juicio sobre la pintura de Tamayo," 1948. Manuscript. Museo Nacional de Arte, Mexico City, 2. “El proceso evolutivo de Tamayo ha recorrido largo camino que fluctúa entre el realismo y el idealismo; entre la expression grotesca cercana a las formas populares mexicanas y el más alto sentido poético de la Pintura, todo ello bajo severo tinte nacional.” Author’s translation. Available through the International Center for the Arts of the Americas at the Museum of Fine Arts, Houston, Documents of 20th-Century Latin American and Latino Art. http://icaadocs.mfah.org/icaadocs/ Accessed October 1, 2019.
2 Indigenismo refers to Herrán’s incorporation of both the ancient and contemporary Indian as the subject of his painting parallel with the writings of Mexican intellectuals Manuel Gamio and José Vasconcelos who sought to define the Indian’s place in the country’s national fabric. Modernismo refers to the literary movement initiated by Nicaraguan Rubén Darío that spilled into the visual arts. In Herrán’s case this refers to a synthesis of European Symbolism and Art Nouveau with indigenous subject matter.
3 One of many sources on these developments in Mexican modernism would be Karen Cordero Reiman, “Ensueños artísticos: Tres estrategias para configurar la modernidad en México, 1920-1940,” in Modernidad y modernización en el arte mexicano, 1920-1960 (Mexico City: Instituto Nacional de Bellas Artes, 1991), 53-81.
4 Karen Cordero Reiman, “Construyendo/Constructing Tamayo, 1922-1937,” in Rufino Tamayo: Construyendo/Constructing Tamayo, 1922-1937 (Mexico City: Instituto Nacional de Bellas Artes, 2011), 37.
5 E. Carmen Ramos, Tamayo: The New York Years (Washington D.C: Smithsonian American Art Museum, 2017), 9.
6 In October of 1907 Émile Bernard published his correspondence with Cézanne in the journal Le Mercure de France. This quote from Cézanne was in a letter dated April 15, 1904.
7 Ingrid Suckaer, “Chronology,” in Tamayo: A Modern Icon Reinterpreted (Santa Barbara: Santa Barbara Museum of Art), 417.
8 Mérida, Carlos. "La obra de Tamayo: En la exposición del artista mexicano se advierte una evolución interesante que reclama cuidadosa atención de los críticos." Magazine: Suplemento dominical de El Demócrata (Mexico City), April 18, 1926. “…una evolución sumamente interesante que está a punto de cristalizarse.” Author’s translation. Available through the International Center for the Arts of the Americas at the Museum of Fine Arts, Houston, Documents of 20th-Century Latin American and Latino Art. http://icaadocs.mfah.org/icaadocs/ Accessed October 1, 2019.
9 Raquel Tibol in “Rufino Tamayo: Su plataforma estética” quotes Xavier Villaurrutia. “Directa sensualidad de indio y de primitivo, que tendrá que vaciarse en una pintura lírica, libre, cálida." My translation. http://www.proa.org/eng/exhibicion-proa-rufino-tamayo-textos.php Accessed October 5, 2019.
10 Bernardo Ortiz de Montellano, “La obra expresiva de Rufino Tamayo,” Revista de Revistas (Mexico City, 1926). My thanks to Diana Bramham for this source.
11 As stated in the object label for La familia in the exhibition Tamayo: The New York Years: https://s3.amazonaws.com/assets.saam.media/files/documents/2017-11/tamayo_wall_text_english.pdf Accessed October 10, 2019.
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Rufino Tamayo (1899-1991)
The Family
signed and dated 'R. Tamayo 1925' (lower left)
oil on canvas
28 ¾ x 33 in. (73 x 83.8 cm.)
Painted in 1925.
Post Lot Text
1 Mérida, Carlos. "Un juicio sobre la pintura de Tamayo," 1948. Manuscript. Museo Nacional de Arte, Mexico City, 2. “El proceso evolutivo de Tamayo ha recorrido largo camino que fluctúa entre el realismo y el idealismo; entre la expression grotesca cercana a las formas populares mexicanas y el más alto sentido poético de la Pintura, todo ello bajo severo tinte nacional.” Author’s translation. Available through the International Center for the Arts of the Americas at the Museum of Fine Arts, Houston, Documents of 20th-Century Latin American and Latino Art. http://icaadocs.mfah.org/icaadocs/ Accessed October 1, 2019.
2 Indigenismo refers to Herrán’s incorporation of both the ancient and contemporary Indian as the subject of his painting parallel with the writings of Mexican intellectuals Manuel Gamio and José Vasconcelos who sought to define the Indian’s place in the country’s national fabric. Modernismo refers to the literary movement initiated by Nicaraguan Rubén Darío that spilled into the visual arts. In Herrán’s case this refers to a synthesis of European Symbolism and Art Nouveau with indigenous subject matter.
3 One of many sources on these developments in Mexican modernism would be Karen Cordero Reiman, “Ensueños artísticos: Tres estrategias para configurar la modernidad en México, 1920-1940,” in Modernidad y modernización en el arte mexicano, 1920-1960 (Mexico City: Instituto Nacional de Bellas Artes, 1991), 53-81.
4 Karen Cordero Reiman, “Construyendo/Constructing Tamayo, 1922-1937,” in Rufino Tamayo: Construyendo/Constructing Tamayo, 1922-1937 (Mexico City: Instituto Nacional de Bellas Artes, 2011), 37.
5 E. Carmen Ramos, Tamayo: The New York Years (Washington D.C: Smithsonian American Art Museum, 2017), 9.
6 In October of 1907 Émile Bernard published his correspondence with Cézanne in the journal Le Mercure de France. This quote from Cézanne was in a letter dated April 15, 1904.
7 Ingrid Suckaer, “Chronology,” in Tamayo: A Modern Icon Reinterpreted (Santa Barbara: Santa Barbara Museum of Art), 417.
8 Mérida, Carlos. "La obra de Tamayo: En la exposición del artista mexicano se advierte una evolución interesante que reclama cuidadosa atención de los críticos." Magazine: Suplemento dominical de El Demócrata (Mexico City), April 18, 1926. “…una evolución sumamente interesante que está a punto de cristalizarse.” Author’s translation. Available through the International Center for the Arts of the Americas at the Museum of Fine Arts, Houston, Documents of 20th-Century Latin American and Latino Art. http://icaadocs.mfah.org/icaadocs/ Accessed October 1, 2019.
9 Raquel Tibol in “Rufino Tamayo: Su plataforma estética” quotes Xavier Villaurrutia. “Directa sensualidad de indio y de primitivo, que tendrá que vaciarse en una pintura lírica, libre, cálida." My translation. http://www.proa.org/eng/exhibicion-proa-rufino-tamayo-textos.php Accessed October 5, 2019.
10 Bernardo Ortiz de Montellano, “La obra expresiva de Rufino Tamayo,” Revista de Revistas (Mexico City, 1926). My thanks to Diana Bramham for this source.
11 As stated in the object label for La familia in the exhibition Tamayo: The New York Years: https://s3.amazonaws.com/assets.saam.media/files/documents/2017-11/tamayo_wall_text_english.pdf Accessed October 10, 2019.
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