Pedro Coronel (1923-1985)

Collection of Hotel Aristos, Mexico City
Galería de Arte Mexicano, Mexico City 

Justino Fernández Pedro, Coronel: Pintor, Escultor, Mexico City, 1971, no. XII, illustrated in color 

The heavy paint layer of this work is stable, clean and in good condition. The canvas is stretched onto a good stretcher. The original signature and date are clearly visible on the reverse. The tacking edges have been reinforced to allow for proper stretching. There are essentially no retouches. There is visible craquelure to the paint layer in the upper center and in a few other isolated spots; however, these areas do not indicate any instability. The work should be hung as is. (This condition report has been provided courtesy of Simon Parkes Art Conservation, Inc.)
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La pintura, la poesía, se sirven de Coronel para manifestarse. La relación de este artista con la pintura es erótica (mejor dicho: amorosa) en el sentido en que reconoce la existencia de la obra como una realidad autónoma. La obra no existe sin Coronel pero sin la obra no existe Coronel. La obra le da (nos da) otra existencia. Si el espectador desea penetrar en la pintura de Coronel debe reproducir esta relación perpetuamente creadora. El secreto de una obra reside tanto en ella como en el que la contempla.

Painting and poetry, for Coronel, serve as self-expression. The relationship between this artist and painting is erotic (better said: amorous) in the sense that he recognizes the existence of the work as an autonomous reality. The work would not exist without Coronel, but without the work, Coronel would not exist. The work gives him (gives us) a new existence. If the spectator seeks to delve into the painting of Coronel, they must reproduce this relationship of constant creation. The secret of a work resides as much in the work itself as in the spectator’s mind.

Octavio Paz, “Pedro Coronel,” Revista de la Universidad de Mexico, June, 1961, p. 23