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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

Rufino Tamayo (1899-1991)
NIÑA ATLETA
Estimate
600,000800,000
JUMP TO LOT
25

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

Rufino Tamayo (1899-1991)
NIÑA ATLETA
Estimate
600,000800,000
JUMP TO LOT

Details & Cataloguing

Latin America: Modern Art

|
New York

Rufino Tamayo (1899-1991)
NIÑA ATLETA
signed and dated O-81 upper right; also signed, titled and dated on the reverse
oil and sand on canvas 
51 1/4 by 37 1/2 in.
130 by 95 cm
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We wish to thank Juan Carlos Pereda for his kind assistance in the cataloguing of this work.

Provenance

Marlborough Gallery, New York
Acquired from the above
Sale: Christie's, New York, Latin American Paintings, Drawings and Sculpture, November 21, 1989, lot 31, illustrated in color 
Private Collection, Mexico
Acquired from the above by the present owner 

Literature

Christina Souza, "Rufino Tamayo: los artistas no somos prácticos," Buenhogar, ed. 17, no. 14, Mexico City, June 30, 1982, p. 8, illustrated 

Catalogue Note

Rufino Tamayo’s mastery of color and prodigious innovations in form and composition are clearly evidenced in Niña atleta. A dynamic example of the artist’s mature style, Niña atleta is exquisitely painted in oscillating shades of violet and green, enrobed in a halo of magenta and earth-red tones that seem to lift her out of the picture plane and into our world. Tamayo’s glowing hues create a sense of optimism and jubilation that are infectious; her mask-like face gives her an aura of mystery and universality, rendering her a joyful and eternal icon of youth. The artist frequently revisited this theme of blissful childhood in his later years, perhaps in a nostalgic reminiscence on his early career as a teacher. The visual economy of Niña atleta, which is comprised entirely of simple, elemental squares, circles, and triangles, both hearkens back to the geometric foundations Tamayo passed on to his students and signifies “the essence of Tamayo’s strived-after universality…which can be traced back to his early (and continued) fascination with pre-hispanic art. The Maya, Azctecs and other indigenous peoples of Mexico were geniuses at expressing the essential qualities of a human figure…with a few lines.” (1) Tamayo masterfully combines pre-Columbian aesthetic sensitivities with a modernist treatment of texture and color to monumentalize his youthful heroine.

1: Edward Sullivan, “Paths of Light: The Art of Rufino Tamayo” in Tamayo:  Recent Paintings, New York 1990, p. 9

Latin America: Modern Art

|
New York