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PROPERTY FROM AN IMPORTANT LATIN AMERICAN COLLECTOR

Rufino Tamayo
AUTORRETRATO
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211

PROPERTY FROM AN IMPORTANT LATIN AMERICAN COLLECTOR

Rufino Tamayo
AUTORRETRATO
前往

拍品詳情

印象派及現代藝術日拍

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Rufino Tamayo
1899 - 1991年
AUTORRETRATO
Signed Tamayo and dated 31 (upper right) 
Oil on canvas
34 by 24 7/8 in.
86.3 by 63.2 cm
Painted in 1931.
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來源

Private Collection, New York (and sold: Sotheby's, New York, May 23, 2012, lot 27) 
Acquired at the above sale 

展覽

Mexico City, Instituto Nacional de Bellas Artes, 45 Autorretratos de pintores mexicanos siglos XVIII al XX: II Exposición del Museo Nacional de Artes Plásticas, Departamento de Artes Plásticas, 1947, n.n., illustrated in the catalogue
Mexico City, Museo Nacional de Artes Plásticas, 50 obras de Tamayo, II Bienal Interamericana de Pintura, Escultura y Grabado de México, 1960, no. 3, illustrated in the catalogue

出版

Robert Goldwater, Rufino Tamayo, New York, 1947, n.n., illustrated p. 49
Ceferino Palencia, Rufino Tamayo, Mexico City, 1950, no. 1, illustrated n.p.
Justino Fernández, Arte Moderno y Contemporáneo de México, Mexico City, 1954, no. 468, illustrated p. 407
Paul Westheim, "El Arte de Tamayo, Una Investigación Estética," in Artes de México, 1956, illustrated n.p.
Paul Westheim, Tamayo: Una Investigación Estética, Mexico City, 1957, illustrated n.p.
Xavier Moyssen, Los Grandes Maestros de la Pintura Universal: Cinco Grandes de la Pintura Mexicana, Milan, 1980, discussed p. 135, 141
Olav Munzberg, "Rufino Tamayo eine Mexicanishe Kontroverse," in Bildende Kunst, Berlin, 1986, n.n., illustrated n.p.
Judith Alanís, Rufino Tamayo, Una Cronología, 1899-1987, Mexico City, 1987, p. 25
Rufino Tamayo: del Reflejo al Sueño, 1920-1950 (exhibition catalogue), Centro Cultural/Arte Contemporáneo, Mexico City, 1995-96, no. 3,  illustrated p. 13
Rita Eder, El Espacio y la post guerra en la obra de Rufino Tamayo en XIX Coloquio Internacional de Historia del Arte, Mexico City, 1997, n.n., illustrated p. 293
Raquel Tibol, Nuevo realismo y posvanguardia en las Américas, Mexico City, 2003, discussed p. 51
Elena Horz de Sotomayor, et al., Artistas por artistas: Autorretrato de pintores Mexicanos Siglo XX, Mexico City, 2013, illustrated in color p. 76
Juan Carlos Pereda, et al., Del mural al caballete: El México de Rufino Tamayo y David Alfaro Siqueiros, Mexico City, 2013, illustrated in color p. 105 

相關資料

“In his Autorretrato (Self-Portrait) of 1931, Tamayo emphasizes the rich darkness of his face, which is outlined by a strip of bare canvas that isolates it from the other elements of the painting and lends the image a certain oneiric quality. The background of the painting can be just barely discerned; it is an arid landscape scattered with tree stumps, on one of which rests a bird, possibly an evocation of music… Tamayo employed music and poetry in his work to combat what he considered an excessive dominance of narrative and literary subjects in the Mexican Muralist movement. In this way he also demonstrated an affinity for the Western twentieth-century idea that visual art should be lyrical like music, far from direct imitation of life, suggesting and immersing the viewer in its own inherent physical qualities.”

Rita Eder, El Espacio y la post guerra en la obra de Rufino Tamayo en XIX Coloquio Internacional de Historia del Arte, Mexico City, 1997, p. 293

印象派及現代藝術日拍

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紐約