DOCSLIB.ORG

The Latin-American Collection Museum of Modern Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Latin-American Collection Museum of Modern Art THE LATIN-AMERICAN 'I COLLECTION OF THE MoMAExh_0224_MasterChecklist MUSEUM OF MODERN ART by Lincoln Kirstein ~ ..:w YORK t::AT.t\LOG i\.ND BIOGRAPHIES -e'\ Arrall.gelnent 4. EPiPHANY. (1940.) \'X'atercolor and India ink, 17% -I The artists are arranged by countries, alphabetically. x 16". Illustration for the book El Niiio Dios. Inter- For convenient reference a good many artists both of the American Fund. 639.42. past and present are listed with brief biographies even though AIJO book illestrations, see page 108. I their work is not included in the collection. Data about each "INk are listed in the following order: BASALDUA Hector Basaldua. Born 1900 Per gamine, Province of Buenos NUll/bel': if marked by an asterisk, * 163, item is illustrated. Aires. Studied at National Academy and in Paris under I Title Andre Lhote and Othon Friesz 1923-30. Since 1933 scenic Date: unless enclosed in parentheses the date given appears director, Colon Theater. Illustrations for books published in on the work itself. Paris, Buenos Aires. Numerous prizes, Buenos Aires, Rosario Medium etc. Size: dimensions are given in inches; height precedes width. 5. THE BALL. 1932. Tempera, 14x20". Inter-American Source oj acquisition Fund. 640.42. i'HlfJemn accession nmnber: the year in which the work was *6. EXPRESO VILLALONGA. 1937, Tempera, 121;4 x 18%". acquired is indicated by the two digits following the decimal Inter-American Fund. 641.42. Ill. p. 30. point. For example the number 149.37 means that the work Also book itlestrations, see page 108. MoMAExh_0224_MasterChecklist was the 149th item acquired in 1937. Pbotogmpbs or slides of any item may be obtained through BERNI the Museum's photograph clerk at a cost of $.50 (subject to Antonio Berni. Born 1905 Rosario. Studied drawing, at- change). Slides of an}' item may be rented from the Library; tended secondary school in Rosario. Awarded travel grant by some color slides are also available. Jockey Club of Rosario 1925. Traveled western Europe. Worked with D. A. Siqueiros 1934 on his mural Plastic Study, Buenos Aires. Professor at National Academy, Buenos ARGENTINA Aires. Stage designer for Teatro del Pueblo. Traveled Peru All artists live in Buenos Aires unless otherwise indicated. and Bolivia 1942. Murals (with Spilimbergo) for New York World's Fair 1939. Art schools are referred to in the following abbreviations: Sociedad Estlrnulc de Bellas Artes as Estimuio '::7. NEW CHICAGO ATHLETiC CLUB. (1937.) Oil on can- La Escuela Superior "Emesto de la Carcova" as Superior vas, 6'%" x 9'101;4". Inter-American Fund. 645.42. Ill. School p. 28. Academia Nacional de Bellas Artes as National Academy S. SEATED Boy. (1940-42.) Oil on canvas, 37 x 22%". Inter-American Fund. 646.42. BAD! '1 B d' B 4 B A' S d' d J E Two monorypes. Inter-American Fund: AqUI es a L om 189 uenos Ires. tu re In urope. Returned to Argentina 1909, enrolling in National Academy.t-Gt.LI.l'.l)9. RED HEAD. (1942.) 13 x 10%".648.42. In 1920 traveled throughout western Europe and Greece; 10. HEAD OF A GIRL ". < 1942.) 13 x 10V2". 647.42. exhibited in Milan. In Buenos Aires 1933-39. Traveled in Also book 1l11lstmtlo11J, see page 108. Brazil. last heard of in Italy (November, 1941); presumably interned as anti-Fascist. BlGATTI MOROCCAN CAFE, 1935 . Tempera, 12 x 15%". Inter- Alfredo Bigatti. Born 1898 Buenos Aires. Graduated from .ot American Fund. 637.42A. National Academy 1918. Worked under Bourdelle, Paris, .t.,J..IJ re. On Reverse: FiGURES. Pen and ink, 15% x 12". Inter- 1923-24. Traveled throughout Europe and in Bolivia. Menu- r.American Fund. 637.428. ment to General Roca at Choele-Choel 1940; to the National ,;,2. SCHOOLTABLEAU-SAN :r...fARTiN'S BIRTHDAY. (1935.) Flag, Rosario (with Fioravanti) 1942. Monument to Mitre, Tempera, uVs x 16V4". Inter-American Fund. 636.42. La Plata 1938. III. p. 30. Inter- 3. SPANISH CAFE. 1937. Tempera, 15% x 20Vs". BORGES DE TORRE American Fund. 635.42. Norah Borges de Torre. Born J903 Buenos Aires. Studied in Switzerland and Spain. Several one-man shows in Buenos BALLESTER PENA Aires since 1926, in Madrid 1933. Illustrated many books. Juan Antonio Ballester Pefin. Born 1895 San Nicolas, Prov- Stage decorations and applique textiles. ince of Buenos Aires. Predominantly painter of religious subjects. Active in Catholic Artists Guild Taller Sail Cristo- 11. CHiLDREN, 1933. Tempera, 19x 19". Inter-American r bal, Stage d~signer for Colon Theater. Book illustrator. Fund. 798.42. 87 :::12. HOLY WEEK. 1935. Tempera, 20 x 15%". Inter-Ameri- FORNER can Fund. 797.42. Ill. p. 25. Raquel Forner. Born 1902 Buenos Aires. Studied at National Aho book illustrations, 'see j)(/ge 108. Academy, where she now teaches drawing, and in Paris under Othon Friesz. Returned to Buenos Aires 1932. Ex- hibited extensively in Europe and the Americas. Several im- BUTLER portant prizes in Argentina 1940, '41, '42. Horacia A. Butler. Born 1897 Buenos Aires. Studied at :::19. DESOLATION. 1942. Oil on canvas, 36Ys x 28Ys". Inter- National Academy and in Paris under Andre Lhote and American fund. 697.42. III. p. 25. Othon Friesz. Traveled in central Europe. Returned to Buenos Aires 1937. Retrospective exhibition at Los Amigos del Arte 1941. Scenic designer for Theater. Colon GOMEZ CORNET l'oi a.th'J.) 13. ORPHEUS. (1939.) Design for scenery for the play by Ramon Gomez Cornet. Born 1898 Santiago del Estero. Stud- Jean Cocteau at La Cortina Theater, Buenos Aires. ied at Academy in Cordoba, Argentina. Europe 1914-1919. Gouache, 11% x 17%". Gift of Lincoln Kirstein. 9.43. One-man show at Los Amigos del Arte, Buenos Aires 1935. *14. It C'l.MELOTE: TIGRE. (1941.) Oil on canvas, 32 x Specializes in portraits of children. Exhibition of pencil 29". Inter-American Fund. 653.42. llI. p. 26. drawings in New York 1942 (Wildenstein Gallery). IlItIS- (, ..18.1J...1J.) 15. ESTANCIA. (1941.) Series of 27 designs for the ballet. rrator. Unproduced. Watercolor, various sizes, 233/Li x 18VS" >::20. HEAD OF A Boy. 1942. Oil on canvas, 21Ys x 17%". to 3% x 5". Extended loan from American Ballet Cara- Inter-American Fund. 698.42. Ill. p. 29. van. £.L.42.464.1-.27. Al.TO book illlls!ra/iOlIJ, see page ]09. Also book ill usrratians, see page 108. MoMAExh_0224_MasterChecklist CARRIE GUIDO Alfredo Guido. Bam 1892 Rosario de Santa Fe. Studied Clara Carrie. Studied under Alfredo Guido at the Superior there under the Italian, Mateo Casali a, and later at the School. National Academy, Buenos Aires, under Pia Collivadinc. *16. THE ANGEL MUSICIAN. 1938. Aquatint, 21Vs x 15%". In 1915 sent on State Prize to Europe. In 1916 decorated Inter-American Fund. 658.42. ut. p. 32. Argentine Pavilion in Seville Exposition. In 1939 started painting murals in true fresco. In 1939 painted large mural CASTAGNA Battle of Caseros in Town Hall, Seis de Septiembre, Province of Buenos Aires. Since 1932 Director of Superior School. RodoHo V. Castagna. Born 1910 Buenos Aires. Studied at Illustrated many books. National School of Decorative Arts, graduating as professor 1933. Graduated Superior School 1938. Many prizes and :::21. STEVEDORES RESl'lNG. (1938.) Tempera, 21 ~/sx 181/s". represented in several European and American museums and Inter-American Fund, 702.42. llI. p. 22. private collections. Two litbograpbs. Inter-American Fund: 17. WOMEN BY THE SEA. Drypoint, 19% x 131;4". Inter- 22. BRUNO 1'fARCI-l101U, THE BUFFOON OF S,\NTA Fn. American Fund. 659.42. (1941.) 191;4 x 15%". 701.42 . 23. DEATH ON THE HIGHWAY. (1941.) 17Ys x 14". 703.42. CORNET .TN' GOMEZ CORNET One d1·ypoint. Gift of.Lincoln Kirstein: ol~Q....,qbr"-¢l,,g ~I!!" 24. TllEH611T HlT8 <G-¥P-T-. ( 1942") 19]/2 x 19%". 617.42. DEMICHELIS Nelida Demicheli s Studied under Alfredo Guido at the Superior School. LASANSKY ::<t8. HEADS. (1942.) Lithograph, 21Vz x 17Ys". Inter-Ameri- Mauricio Lasansky. Studied under Alfredo Guido at the can Fund. 686.42. 1Il. p. 32. Superior School. Works in C6rdoba. Numerous Prizes. 25. FrGURES. 1938. Etching and drypoint, 14,% x 1LY4". FIORAVANTI Inter-American Fund. 711.42. Jose Fioravanti. Born 1896 Buenos Aires, the son of a mason. Exhibited in the National Salon from 1912. First one-man show 1924. Thereafter traveled throughout _Europe, Greece LOPEZ ANAYA and Egypt. One- man show feu de Palone, Paris, of taille Fernando Lopez Anaya. Studied under Alfredo Guido at the directe carving in stone 1935. Important monuments: Roque Superior School. Saenz Pefia 1932-34; Avellaneda 1930"33, Bolivar 1940-42; all in Buenos Aires. Monument to National Flag Rosario >::z6. MERMAID. 1942. Aquatint and etching, 231/2 x 14%". (with Bigatti) 1942. Inter-American' Fund. 716.42. Ill. p. 32. "88 MELGAREJO MUNOZ Fine Arts, La Plata 1930. To the United States 1942-43. \\Taldimiro Melgarejo ~{Ui10Z. Born 1908 Buenos Aires. One-man shows: Florence 1914; Milan 1919; Buenos Aires Studied National Academy and Superior School, specializing 1924; retrospective, Buenos Aires (Los Ainigos del Arte) in decorative and graphic arts. 1940; San Francisco Museum of Art 1942; New York (National Academy) 1943. '(..IIII,'J)27. IN THE'RJNG. 1933. Color etching, 12% x 121/2". Inter- American Fund. 722.42. *35. THE VERDIGJUS GOBLET. 1934. Oil on canvas, 21% x l" • )28. EL PERlCON. (1933.) Color etching, 13V2 x 12Vs". l8Ya". Inter-American Fund. 4.43. IfI. i). 24. I Inter-American Fund. 723.42. PUEYRREDON ORT1Z Pnlidiano Pueyrredon. Born 1823 Buenos .Aires. Son of Manuel Angeles Ortiz. Born in Spain 1897. Worked with General Juan Martfn de Pueyrredon, early head of the nation. Picasso in Paris 1930-32.
Load more

Recommended publications
  • Miguel Covarrubias
    Miguel Covarrubias: An Inventory of the Adriana and Tom Williams Art Collection of Miguel Covarrubias at the Harry Ransom Center Descriptive Summary Creator: Covarrubias, Miguel, 1904-1957 Title: Adriana and Tom Williams Art Collection of Miguel Covarrubias Dates: 1917-2006, undated Extent: 6 boxes, 12 flat file folders, 1 oversize print (184 items) Abstract: The Ransom Center's Adriana and Tom Williams Art Collection of Miguel Covarrubias is part of a larger collection of research material compiled by Covarrubias' biographer, Adriana Williams, and her husband Tom and is comprised of 169 original works and 15 posters. Call Number: Art Collection AR-00383 Language: English and Spanish Access: Open for research. Please note that a minimum of 24 hours notice is required to pull Art Collection materials to the Ransom Center's Reading and Viewing Room. Some materials may be restricted from viewing. To make an appointment or to reserve Art Collection materials, please contact the Center's staff at [email protected]. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility.
    [Show full text]
  • Gallery of Mexican Art
    V oices ofMerico /January • March, 1995 41 Gallery of Mexican Art n the early the 1930s, Carolina and Inés Amor decided to give Mexico City an indispensable tool for promoting the fine arts in whatI was, at that time, an unusual way. They created a space where artists not only showed their art, but could also sell directly to people who liked their work. It was a place which gave Mexico City a modem, cosmopolitan air, offering domestic and international collectors the work of Mexico's artistic vanguard. The Gallery of Mexican Art was founded in 1935 by Carolina Amor, who worked for the publicity department at the Palace of Fine Arts before opening the gallery. That job had allowed her to form close ties with the artists of the day and to learn about their needs. In an interview, "Carito" —as she was called by her friends— recalled a statement by the then director of the Palace of Fine Arts, dismissing young artists who did not follow prevailing trends: "Experimental theater is a diversion for a small minority, chamber music a product of the court and easel painting a decoration for the salons of the rich." At that point Carolina felt her work in that institution had come to an end, and she decided to resign. She decided to open a gallery, based on a broader vision, in the basement of her own house, which her father had used as his studio. At that time, the concept of the gallery per se did not exist. The only thing approaching it was Alberto Misrachi's bookstore, which had an The gallery has a beautiful patio.
    [Show full text]
  • L Banco Nacional De México a Través De Fomento Cultural Banamex
    JUAN CORREA MIGUEL CABRERA ANÓNIMO JOHANN MORITZ RUGENDAS ÉDOUARD PINGRET JOSÉ AGUSTÍN ARRIETA Arcángel Sealtiel (detalle), ca. 1690-1713 Virgen del Carmen (detalle), 1750 Virrey don Juan Vicente Güemes Pacheco de Padilla, segundo conde de Revillagigedo (detalle), ca. 1790 Volcán de Colima (detalle), ca. 1834 Retrato de Anacleto Polidura y sus hijos, ca. 1852 Cristales, ca. 1859 Óleo sobre tela Óleo sobre tela Óleo sobre tela Óleo sobre tela Óleo sobre tela Óleo sobre tela Col. Banco Nacional de México Col. Banco Nacional de México Col. Banco Nacional de México Col. Banco Nacional de México Col. Banco Nacional de México Col. Banco Nacional de México realizaron bellos paisajes, escenas costumbristas, tipos po- l Banco Nacional de México a través de Fomento Cultural EL VIRREINATO Durante el virreinato la Iglesia se su apogeo los mejores representantes del paisajes urbanos o rurales, que dan cuenta de los oficios, las diver- el paisaje y la naturaleza muerta gozaron de gran éxito entre la bur- Banamex, A. C. y el Museo Arocena presentan la expo- pulares y bodegones, los cuales contribuyeron a construir la sirvió del arte para transmitir los preceptos de la religión católica; barroco del mundo hispánico, encabeza- siones, el vestuario, los ajuares domésticos, la flora regional y la guesía mexicana, la cual los encomendó y los coleccionó. Destaca- E sición La colección de pintura del Banco Nacional de México. identidad nacional. por ello, los artistas novohispanos pintaron principalmente temas dos por Cristóbal de Villalpando. El siglo posición social de los personajes. dos exponentes del retrato lograron un equilibrio entre la exactitud xvIII, a partir de la década de los treinta, física del modelo y su idealización, e introdujeron diversas formas En ella, el visitante podrá apreciar un amplio panorama Con los artistas modernistas como Germán Gedovius y Julio religiosos.
    [Show full text]
  • La Vendedora De Frutas Olga Costa Representó Una Parte De La Diver- Sidad Frutícola De México: 58 Especies Y 10 Variantes
    ciencia Novedades científicas Desde el Conacyt De actualidad Reseñas volumen 71 78 número 3 ciencia Juan Antonio Reyes Agüero, Claudia Heindorf y Juan Rogelio Aguirre Rivera n n nnn n n Olga Costa y la fiesta de la diversidad frutícola de México En La vendedora de frutas Olga Costa representó una parte de la diver- sidad frutícola de México: 58 especies y 10 variantes. Las frutas proce- den de distintas regiones: son mesoamericanas (46 %), les siguen las de oriente lejano (30 %), oriente cercano (13 %), las de origen sudamericano (6.0 %), y en menor cantidad (4.5 %) las de África, aunque de aquí también procede nuestra especie, Homo sapiens. Olga Costa y La vendedora de frutas n algún día de 1925, a los 12 años la niña Olga Kostakowsky Fabricant des- cendió del Espagne en el puerto de Veracruz con sus papás y su hermana Emenor, Lya. El casi imperceptible rocío de las flores, la diversidad de colores que contrastaba con el gris-guerra de Europa, los tonos morenos de la gente y los aromas de la brisa marina empezaron a diluir la nacionalidad germana y la ascen- dencia rusa de Olga. A la niña le encantaron las voces de los vendedores callejeros, el novedoso idioma español y el ambiente del hotel donde se hospedaron, pues tuvieron que esperar en vano en el puerto por sus equipajes perdidos. Esas impre- siones y muchísimas más moldearon a aquella niña ruso-germana para convertirla en Olga Costa (1913-1993), pintora mexicana de renombre, Premio Nacional de Bellas Artes en 1990. A contracorriente de los muralistas mexicanos, Olga se alejó de los dogmas estéticos que impusieron, y evitó discriminar tendencias y valores en el arte.
    [Show full text]
  • Copyright by Cary Cordova 2005
    Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez.
    [Show full text]
  • David Alfaro Siqueiros's Pivotal Endeavor
    City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-15-2016 David Alfaro Siqueiros’s Pivotal Endeavor: Realizing the “Manifiesto de New York” in the Siqueiros Experimental Workshop of 1936 Emily Schlemowitz CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/68 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] David Alfaro Siqueiros’s Pivotal Endeavor: Realizing the “Manifiesto de New York” in the Siqueiros Experimental Workshop of 1936 By Emily Schlemowitz Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History Hunter College of the City of New York 2016 Thesis Sponsor: __May 11, 2016______ Lynda Klich Date First Reader __May 11, 2016______ Harper Montgomery Date Second Reader Acknowledgments I wish to thank my advisor Lynda Klich, who has consistently expanded my thinking about this project and about the study of art history in general. This thesis began as a paper for her research methods class, taken my first semester of graduate school, and I am glad to round out my study at Hunter College with her guidance. Although I moved midway through the thesis process, she did not give up, and at every stage has generously offered her time, thoughts, criticisms, and encouragement. My writing and research has benefited immeasurably from the opportunity to work with her; she deserves a special thank you.
    [Show full text]
  • Sugerencias Para La Formulación De Propuestas De
    Universidad Autónoma de San Luís Potosí Facultad del Hábitat Programas de la Licenciatura de Conservación y Restauración de Bienes Culturales Muebles HISTORIA DE LOS BIENES MUEBLES VI DATOS BÁSICOS DEL CURSO Semestre: VI Tipología: Teórica Clave: 76020 Carácter: Instrumental Área: Investigaciones Humanísticas Tipo: Obligatoria Departamento: Humanidades Horas clase: 3 Carrera: CRBCM Horas trabajo adicional 3 Elaboró: Rest. Javier Quirós Vicente Créditos: 6 Revisó: Dr en Arq Alejandro I. Galván Arellano / Ing. Ada María Avilés Quiroz Fecha: Abril de 2009 OBJETIVOS DEL CURSO Objetivos Al finalizar el curso el estudiante será capaz de: generales El alumno será capaz de comprender la producción de los distintos bienes culturales del siglo XX, así como su concepto y sus valores. Tanto en el ámbito de lo nacional como en lo internacional, diferenciará las producciones características en las distintas regiones del territorio mexicano y podrá realizar juicios críticos de las producciones artísticas. Objetivos Unidades Objetivo específico específicos 1. Porfirismo en el Analizará y comprenderá como el modo de pensar y de arte y la vida expresarse en la época del porfiriato se reflejó en una serie de cotidiana lenguajes y manifestaciones que influyeron en el arte y en la vida cotidiana de manera variada pero contundente. Considerando el concepto y valores del bien mueble. 2. El Analizará y reflexionará sobre la evolución en la expresión del Nacionalismo nacionalismo de corte revolucionario que influyó el ámbito revolucionario artístico del México independiente. Dando énfasis en el concepto y valores del bien cultural mueble y su evolución. 3. La Nueva Analizará y comprenderá la formación de las nuevas figuración: las escuelas y corrientes artísticas de vanguardia y la vanguardias y presencia de una nueva generación de lenguajes y la generación de ruptura manifestaciones de ruptura, ante el pensamiento de la época.
    [Show full text]
  • Good Neighbor Cultural Diplomacy in World War II
    Good Neighbor Cultural Diplomacy in World War II: The Art of Making Friends Darlene J. Sadlier, Indiana University, USA In August 1940, President Franklin D. Roosevelt named Nelson A. Rockefeller to head the Office of the Coordinator of Inter-American Affairs (CIAA), a new federal agency whose main objective was to strengthen cultural and commercial relations between the U.S and Latin America, in particular Brazil, in order to route Axis influence and secure hemispheric solidarity. On November 7, 1940, just months after the CIAA‘s inception, Robert G. Caldwell and Wallace K. Harrison, Chairman and Director, respectively, of the agency‘s Cultural Relations Division, received written approval for twenty-six special projects at a cost of nearly one-half million dollars.i The most expensive, at $150,000, was an Inter-American exhibit of art and culture under the direction of the MoMA, to be held simultaneously with parallel exhibits in capital cities throughout the Americas.ii Two hundred fifty-five U.S. paintings were curated by the MoMA in conjunction with other major museums, and in April 1941, these were previewed at the Metropolitan Museum of Art in New York. Portions of the large exhibit then toured eight South American republics, Mexico and Cuba for close to a year, beginning with an exposition at Mexico City‘s Palacio de Bellas Artes in June.iii The emphasis was on modern art and included paintings by Georgia O‘Keefe, Thomas Hart Benton, Edward Hopper, Stuart Davis, Loren MacIver, Eugene Speicher, Peter Hurd and Robert Henri, among others. A file in the MoMA archive has valuations of all the paintings at the time, the highest valued being George Bellows‘s Dempsey and Firpo and Georgia O‘Keefe‘s The White Flower at $25,000 each.
    [Show full text]
  • Morton Subastas SA De CV
    Morton Subastas SA de CV Lot 1 CARLOS MÉRIDA Lot 3 RUFINO TAMAYO (Quetzaltenango, Guatemala, 1891 - Ciudad de México, 1984) (Oaxaca de Juárez, México, 1899 - Ciudad de México, 1991)< La casa dorada, 1979 Mujer con sandía, 1950 Firmada a lápiz y en plancha Firmada Mixografía 97 / 100 Litografía LIX / LX Procedencia: Galería del Círculo. Publicada en: PEREDA, Juan Carlos, et al. Rufino Tamayo Catalogue Con documento de la Galería AG. Raisonné Gráfica / Prints 1925-1991, Número 32. México. Fundación Olga y "Un hombre brillante que se daba el lujo de jugar integrando todos los Rufino Tamayo, CONACULTA, INBA, Turner, 2004, Pág. 66, catalogada 32. elementos que conocía, siempre con una pauta: su amor a lo indígena que le dio Impresa en Guilde Internationale de l'Amateur de Gravures, París. su razón de ser, a través de una geometría. basado en la mitología, en el Popol 54.6 x 42.5 cm Vuh, el Chilam Balam, los textiles, etc. Trató de escaparse un tiempo (los treintas), pero regresó". Miriam Kaiser. $65,000-75,000 Carlos Mérida tuvo el don de la estilización. Su manera de realizarlo se acuñó en París en los tiempos en que se cocinaban el cubismo y la abstracción. Estuvo cerca de Amadeo Modigliani, el maestro de la estilización sutil, y de las imágenes del paraíso de Gauguin. Al regresar a Guatemala por la primera guerra mundial decide no abandonar el discurso estético adopado en Europa y más bien lo fusiona con el contexto latinoamericano. "Ningún signo de movimiento organizado existía entonces en nuestra América", escribe Mérida acerca del ambiente artístico que imperaba a su llegada a México en 1919.
    [Show full text]
  • Universidad De Las Americas, Puebla, Mexico
    Study Language of Type of Approximate LHU partner Housing Eligibility VISA Period Instruction Housing semester dates since Costs LHU and $200- external Fall Spanish/ Homestay Fall: Aug – Dec. $500/month students; and/or 1997 English Spring: Jan - May Homestays Minimum Spring or private GPA 2.5 apartments M E X I C O ITESM, Zacatecas Campus www.zac.itesm.mx) The Location With its three hundred thousand inhabitants, Zacatecas, the capital of the state of Zacatecas, is located in the north of Mexico. Founded in 1546 after the discovery of a rich silver lode, Zacatecas reached the height of its affluence in the 16th and 17th centuries. The city is centered on the Plaza de Armas, a small open square surrounded by a cathedral and the governor's palace. The cathedral, built between 1730 and 1760, is notable for its striking architecture, where European and indigenous decorative elements are found side by side. There are also several museums in town, including the Francisco Goitia Museum, exhibiting his unique collection of sculptures and paintings, the Pedro Coronel Museum, featuring diverse works of Mexican art, and the Rafael Coronel Museum with its extensive exhibit of exotic masks and figurines. Zacatecas has magnificent views, especially in the evening when thousands of lights illuminate the city center. In 1993, UNESCO declared the city of Zacatecas a “cultural treasure of humanity.” The College The Instituto Tecnologico de Estudios Superiores de Monterrey (www.zac.itesm.mx) also known as the Tecnologico de Monterrey (TEC), was founded in 1943 by a group of entrepreneurs headed by Don Eugenio Garza Sada.
    [Show full text]
  • La Célula Gráfica. Artistas Revolucionarios En México, 1919-1968, Muestra Que Aborda El Compromiso De Los Artistas Mexicanos Del Siglo XX
    Dirección de Difusión y Relaciones Públicas Ciudad de México, a 22 de noviembre de 2019 Boletín núm. 1800 La célula gráfica. Artistas revolucionarios en México, 1919-1968, muestra que aborda el compromiso de los artistas mexicanos del siglo XX • Las 180 piezas permanecerán en exposición del 22 de noviembre de 2019 al 23 de febrero de 2020 en el Museo Nacional de la Estampa El Museo Nacional de la Estampa (Munae) del Instituto Nacional de Bellas Artes y Literatura (INBAL) exhibirá a partir del 22 de noviembre la muestra La célula gráfica. Artistas revolucionarios en México, 1919-1968, cuyo objetivo es valorar la función del arte como compromiso social. Esta exposición, bajo la curaduría de Ana Carolina Abad, se centra en el trabajo de artistas que, a partir del fin de la Revolución Mexicana y hasta la década de 1960, asumieron la tarea de crear imágenes con mensajes generalmente de índole social. La célula gráfica es una gran oportunidad para conocer parte del acervo del Munae que pocas veces se ha exhibido, principalmente de grabadores reconocidos, como Diego Rivera, David Alfaro Siqueiros, Luis Arenal, Xavier Guerrero, Leopoldo Méndez, Pablo O’Higgins, Raúl Anguiano, Ángel Bracho, Francisco Dosamantes, Alfredo Zalce, Arturo García Bustos, Francisco Mora y Francisco Moreno Capdevila. Igualmente contempla la obra de Andrea Gómez, Sarah Jiménez y Mariana Yampolsky. Paseo de la Reforma y Campo Marte s/n, Módulo A, 1.er Piso Col. Chapultepec Polanco, Miguel Hidalgo C.P. 11560, Ciudad de México, tel. (55) 1000 5600 Ext. 4086 [email protected] Para Emilio Payán, director del Munae, La célula gráfica.
    [Show full text]
  • The Blue House: the Intimate Universe of Frida Kahlo
    The Blue House: The Intimate Universe of Frida Kahlo “Never in life will I forget your presence. You found me torn apart and you took me back full and complete.” Frida Kahlo By delving into the knowledge of Frida Kahlo's legacy, one discovers the intense relationship that exists between Frida, her work and her home. Her creative universe is to be found in the Blue House, the place where she was born and where she died. Following her marriage to Diego Rivera, Frida lived in different places in Mexico City and abroad, but she always returned to her family home in Coyoacan. Located in one of the oldest and most beautiful neighborhoods in Mexico City, the Blue House was made into a museum in 1958, four years after the death of the painter. Today it is one of the most visited museums in the Mexican capital. Popularly known as the Casa Azul (the ‘Blue House’), the Museo Frida Kahlo preserves the personal objects that reveal the private universe of Latin America’s most celebrated woman artist. The Blue House also contains some of the painter’s most important works: Long Live Life (1954), Frida and the Caesarian Operation (1931), and Portrait of My Father Wilhelm Kahlo (1952), among others. In the room she used during the day is the bed with the mirror on the ceiling, set up by her mother after the bus accident in which Frida was involved on her way home from the National Preparatory School. During her long convalescence, while she was bedridden for nine months, Frida began to paint portraits.
    [Show full text]