Lot 52
  • 52

Pedro Coronel (1923-1985)

Estimate
150,000 - 200,000 USD
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Description

  • Pedro Coronel
  • Amor sumergido
  • signed and dated 1966 on the reverse
  • oil on canvas
  • 78 3/4 by 78 3/4 in.
  • 200 by 200 cm

Provenance

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

Literature

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

Condition

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.)
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

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