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拍品专文
Derived from his study of pre-Hispanic sculpture and popular toy-making traditions, Rufino Tamayo developed a personal iconography that defined his artistic identity and contributed significantly to the broader history of modern art. This unique artistic vision encountered notable market success in the United States, where, despite the economic hardships of the War, there remained a consistent demand for art—while perhaps not for large-scale canvases, certainly for works in medium formats and on paper.
Mujeres de Oaxaca stems from Tamayo’s conscientious and enthusiastic study of both the ancient and the popular, yet stands apart from the iconographic characteristics of the Escuela de Pintura Mexicana.
Balancing observation with poetic invention, Tamayo reimagines his subjects—women of the pueblo—through a lens that is both empathetic and timeless. He lends them a sculptural weight and a quiet monumentality, at times solemn in tone. With a restrained palette of pinks and browns, Tamayo transforms a familiar market scene into an image contemplative in nature, distanced from the bustle of daily life.
The plasticity with which the artist renders atmosphere and rhythm in Mujeres de Oaxaca—the cadence of movement, the stillness of presence—enables him to extract his subjects from their immediate context and elevate them into the realm of fine art, transporting the visual culture of Mexican markets into the contemplative space of the museum gallery.
Professor Juan Carlos Pereda
Mujeres de Oaxaca stems from Tamayo’s conscientious and enthusiastic study of both the ancient and the popular, yet stands apart from the iconographic characteristics of the Escuela de Pintura Mexicana.
Balancing observation with poetic invention, Tamayo reimagines his subjects—women of the pueblo—through a lens that is both empathetic and timeless. He lends them a sculptural weight and a quiet monumentality, at times solemn in tone. With a restrained palette of pinks and browns, Tamayo transforms a familiar market scene into an image contemplative in nature, distanced from the bustle of daily life.
The plasticity with which the artist renders atmosphere and rhythm in Mujeres de Oaxaca—the cadence of movement, the stillness of presence—enables him to extract his subjects from their immediate context and elevate them into the realm of fine art, transporting the visual culture of Mexican markets into the contemplative space of the museum gallery.
Professor Juan Carlos Pereda