MODERNS - Wally Findlay Galleries...MODERNS WALLY FINDLAY GALLERIES INTERNATIONAL, INC. 165 WORTH...

WALLY FINDLAY GALLERIES LATINM O D E R N S

WALLY FINDLAY GALLERIES INTERNATIONAL, INC. 165 WORTH AVENUE, PALM BEACH FL 33480 • (561) 655 2090 124 EAST 57TH STREET, NEW YORK NY 10022 • (212) 421 5390

W W W.WA L LY F i N d L AY.C O M

Welcome to Latin Moderns presented by Wally Findlay Galleries.

As we conceived the collection that you will find in the following pages, we encountered one of art’s most enduring and fascinating challenges; namely, how to delineate the terms that define art? Especially in cases when a term has become so engrained in the culture and is as universally and variously used as is the case with MODERNISM.

While the term is a difficult one to define, the aesthetics of works produced by art-ists whose sensibility is informed by modernist ideals is easily identifiable. This can be explained by the fact that the spirit of Modernism is in great part the spirit of self aware-ness. As the Modernists searched for meaning both in the outside world and in the interior one and attempted to capture their power, they realized that their best allies were sim-ply the raw elements of art and the intrinsic physical characteristics of each medium.

Modernism was a natural current for the Latin American artist to delve into. The Twentieth Cen-tury Latin America these artists encountered was the result of centuries of a historically unique mix of civilizations. The result was not a superficial or segregated mixing of religion, race, art, and politics, but a deep identity that produced many issues and contradictions, along with an energy and vitality that has been captured in the works below.

We invite you to cross the walls that separate the real world from the magic and the esoteric, the present from the past, the flawed from the utopian and the exterior from the interior.

Enjoy!

LATINM O D E R N S

TAMAYOR U F I N O

( 1 8 9 9 - 1 9 9 1 )

Rufino Tamayo (1899-1991) was born in Oaxaca, Mexico. The paintings and graphics of Rufino Tamayo have acquired a decisive importance in contemporary art in terms both of its high quality, maintained throughout a long, intense life, and its special signifi-cance. He was very clearly one of the greatest of American creators and, at the same time, one of the artists who managed to pen-etrate deepest into the reality of today’s Man, going beyond his historical dimension. His knowledge of the great pre-Columbian cultures allowed him to make an extraordinary synthesis which forms part of a universalist conception of art. Tamayo sought the essential, which he expressed through a deliberately limited range of colours in order to give the freest possible rein to tonal inter-play. His subject matter tends to be simple - figures of men ,women and animals - almost sketchy, although charged with content. Tamayo occupied a privileged situation. He was a modern man, one who had a complete knowledge of a cultural environment - our cultural environment - which he had helped to shape, and at the same time he had a past which in him was present. In that other world of his there were none of the usual clear-cut distinctions between time left behind, present and future. In all the ancient cultures the community was composed of the living and the dead. Nor was there the modern categorical break between men, animals and trees or plants.

One might say, writes Jacques Lassaigne, that, in the same way as pre-Columbian art, Tamayo’s painting is at the same time metaphor, geometry and transfiguration. Octavio Paz comments: This is painting as a double of the universe: not its symbol but its projection on the canvas. The picture is not a representation or an ensemble of signs: it is a constellation of forces. Through this double approach, that of the prestigious French critic and that of the great Mexican poet and essayist, the viewer is better able to unravel the mysteries of one of the great artistic creations of our era.

Rufino Tamayo (1899 - 1991)Tres manos rojas, 55/99, 1975 - 21 x 29 iNCHES, ETCHiNg - 132322



Rufino Tamayo (1899 - 1991)Figura en ocra (sobre Fondo azul), Hc, 1976 - 29 x 21 iNCHES, COLOR ETCHiNg - 132323



Rufino Tamayo (1899 - 1991)Femme au collanT rose (From mujeres), 122/150, 1969 - 27 x 21 iNCHES, COLOR LiTHOgRAPH - 132325



Rufino Tamayo (1899 - 1991)dos Figures (From ruFino Tamayo 16 aguaFuerTes), 3/10, 1976 - 22 x 29 iNCHES, ETCHiNg iN COLORS - 132324



Rufino Tamayo (1899 - 1991)Personaje en gris, 69/99, 1980 - 29 x 22 iNCHES, ETCHiNg iN COLORS - 132327



Rufino Tamayo (1899 - 1991)Venus noire, 128/150, 1969 - 27 x 21 iNCHES, COLOR LiTHOgRAPH - 134493



Rufino Tamayo (1899 - 1991)cabeza sobre Fondo Verde, 59/99, 1979 - 22 x 29 iNCHES, ETCHiNg iN COLORS - 134491



Rufino Tamayo (1899 - 1991)Torre blanca, 4/10 HC, 1976 - 29 x 22 iNCHES, ETCHiNg iN COLORS - 134492



MattaR O B E RTO

( 1 9 1 1 - 2 0 0 2 )

Roberto Sebastian Matta Echaurren, usually simply known as Matta, is one of Chile’s best-known painters. Born in Santiago on 11 November 1911, he was initially an interior decorator, but became disillusioned with this occupa-tion and left for Europe in the mid 1930s. His travels led him to meet artists such as Rene Magritte, Salvador Dalí, Andre Breton, and Le Corbusier.

It was Breton who provided the major spur to the Chilean’s direction in art, encouraging his work and introduc-ing him to the leading members of the Paris surrealist movement. Matta produced illustrations and articles in the surrealist journal Minotaure. During this period he was introduced to the work of many prominent contemporary European artists, such as Pablo Picasso and Marcel Duchamp.

The first true flowering of Matta’s own art came in 1938, when he moved from drawing to the oil painting for which he is best known. This period coincided with his emigration to the United States, where he lived until 1948. His early paintings, such as Invasion of the Night, give an indication of the work he would continue, with diffuse light patterns and bold lines on a featureless background. During the 1940s and 1950s, the disturbing state of world politics found reflection in Matta’s work, with the canvases becoming busy with images of electrical machinery and distressed figures. The addition of clay to Matta’s paintings in the early 1960s added a dimension to the distor-tions. Matta’s connections with Breton’s surrealist movement were severed when a private disagreement led to his expulsion from the group, but by this time his own name was becoming widely known. He divided his life between Europe and South America during the 1950s and 1960s, successfully combining the political and the semi-abstract in epic surreal canvases. Matta died in Civitavecchia, Italy, on 23 November 2002.

RobeRTo maTTa (1911 - 2002) la danse de la morT - PlacncHe i, 52/100, 1972 - 26 x 20 iNCHES, AqUATiNT ETCHiNg - 132305



RobeRTo maTTa (1911 - 2002)esPace de l’esPace, 160/200, 1974 - 22 x 30 iNCHES, LiTHOgRAPH/ARCHES - 132306



RobeRTo maTTa (1911 - 2002)n’ou’s From Hommere ii - l’eauTre, 72/100, 1974-1975 - 20 x 26 iNCHES, AqUATiNT ETCHiNg/jAPON PAPER - 132308



RobeRTo maTTa (1911 - 2002)la danse de la morT - PlancHe 8, 52/100, 1972 - 26 x 20 iNCHES, AqUATiNT ETCHiNg - 132307



RobeRTo maTTa (1911 - 2002)aTTire le gai Venin, 93/100, 1978 - 14 x 18 iNCHES, ETCHiNg ON ARCHES PAPER - 134504



RobeRTo maTTa (1911 - 2002)la danse de la morT - PlancHe 3, 52/100, 1972 - 26 x 20 iNCHES, AqUATiNT ETCHiNg - 132309



RobeRTo maTTa (1911 - 2002) la danse de la morTe - PlancHe 4, 52/100, 1972 - 26 x 20 iNCHES, AqUATiNT ETCHiNg - 132310



LamWILFREDO

( 1 9 0 2 - 1 9 8 2 )

Wifredo Lam was born in Sagua la Grande, a small Cuban town, in 1902. He was of mixed ancestry: his father was Chinese and his mother was of African, Spanish and Native-Cuban descent. He showed some artistic talent as a young man so when he went to Havana to study law, he also learned painting at the Academy of San Alejandro. In 1923, he went to Madrid in order to further his artist studies. There he married Eva Piriz in 1929 but both she and their young son died in 1931 of Tuberculosis. He was in Madrid during the Spanish civil war in which he sided with the Republic.

In 1937, he went to Paris and became close friends with Pablo Picasso. It was through Picasso that he met many of the leading artists in Paris at the time. With the threat of German invasion in World War II, he left Paris in 1940 and went to Marseille. There, through Varian Fry he became friends with André Breton and formed close ties with the Surrealist movement. In 1941, he returned to Cuba and stayed there until 1946. He then lived in various places including Paris, New York and Havana. He married Helena Holzer in 1944. They were divorced in 1950. In 1960, he married Lou Laurin with whom he had three children.

WilfRedo lam (1902 - 1982)sans TiTre, 9/99, 1979 - 19 x 26 iNCHES, COLOR ETCHiNg/AqUATiNT - 132311



WilfRedo lam (1902 - 1982)sans TiTre (lames de lam), 9/99, 1979 - 13 x 15 iNCHES, COLOR ETCHiNg/AqUATiNT - 132312



WilfRedo lam (1902 - 1982)sans TiTre, 9/99, 1978 - 12 x 15 iNCHES, COLOR ETCHiNg/AqUATiNT - 132313



WilfRedo lam (1902 - 1982)sans TiTre, 9/99, 1979 - 13 x 15 iNCHES, COLOR ETCHiNg/AqUATiNT iN COLORS - 132314



WilfRedo lam (1902 - 1982)belle ePine (Pleni luna PorTFolio), 142/262, 1984 - 25 x 19 iNCHES, LiTHOgRAPH - 132316



WilfRedo lam (1902 - 1982)elle, casque (Pleni luna PorTFolio) 153/262, 1974 - 25 x 19 iNCHES, COLORS LiTHOgRAPH - 132315



WilfRedo lam (1902 - 1982)demons Familiers (Pleni luna PorTFolio), 142/262, 1974 - 25 x 19 iNCHES, LiTHOgRAPH - 132317



ZÚÑigaF R A N C I S C O

( 1 9 1 2 - 1 9 9 8 )

Costa Rican-born Francisco Zúñiga (1912-1998) was first exposed to religious wood carving in the studio of his fa-ther. As a youth he studied drawing at the School of Fine Arts of San José. Motivated to become an artist, Zúñiga at-tempted in 1936 to visit and study in Europe but the Spanish Civil War blocked his plans. Instead he went to México where he studied under Manuel Rodriguez Lozano. He became a frequent visitor of Mexico City’s old Anthropology Museum. The prehispanic sculptures there became a determining factor in the style and themes of Zuniga’s later works.

During 1937 Zúñiga contributed to the stone sculptures of Oliverio Martinez in the “Monumento a la Revolución.” His talent and dedication were recognized and in 1938 he joined the faculty of “La Esmeralda,” the prestigious Mexican school of painting and sculpture of the National Institute of Fine Arts. Throughout the years until 1970, Zúñiga created many monumental public works. Later he dedicated more time and effort to his lithographs, drawings and sculptures.

Zúñiga’s themes consist almost exclusively of female human figures. He used the reboso (Mexican shawl) to gener-ate his well known pyramidal composition of southeastern Mexican females. Often the figures, regardless of their dimensions, represent women’s powerful strength as matriarchs. Zúñiga’s masterful technique veils and unveils the anatomy of young, mature and elderly women.

He has described his work as “a continuous representation of femininity.” Like no one else, he has captured and created the archetype of the women of southeastern México. Zúñiga leaves behind an extensive legacy. His works are owned by major museums throughout the world including the Museum of Modern Art and the Metropolitan Museum of Art in New York City, the Museum of Modern Art in México City, the Middleheim Museum in Belgium, the Fogg Art Museum at Harvard University, the Hirshhorn Museum & Sculpture Garden in Washington, D.C. and the Open Air Museum in Hakone, Japan. He has had more than 50 individual museum and gallery shows world-wide. In 1984 J. Brewster published Zúñiga: The Complete Graphics and in 1999 the first volume of his Catalogue Raisonné was published. There are more than 10 monographs about Zúñiga published in English, French and Span-ish. A member of the Mexican Academy of Arts, Zúñiga received the 1992 Mexican Award for the Arts, the highest distinction that the Mexican Government grants to an artist. In 1998 the National Institute of Fine Arts of México paid homage to Zúñiga with a retrospective exhibition at the National Palace of Fine Arts in México City. Francisco Zúñiga died August 9, 1998 in México City.

fRanciso ZÚÑiga (1912 - 1998)jucHiTecas PlaTicando, xxxVi/L, 1985 - 22 x 29 iNCHES, LiTHOgRAPH - 132328



fRanciso ZÚÑiga (1912 - 1998) yucaTecas en el Parque, 99/150, 1986 - 22 x 29 iNCHES, COLOR LiTHOgRAPH - 132329



fRanciso ZÚÑiga (1912 - 1998)en niÑo y la Vela, 18/125, 1975 - 19 x 23 iNCHES, COLOR LiTHOgRAPH - 132330



fRanciso ZÚÑiga (1912 - 1998)mujeres caminando i, 39/135, 1982 - 25 x 35 iNCHES, COLOR LiTHOgRAPH - 134494



fRanciso ZÚÑiga (1912 - 1998)sylVia, 13/125, 1980- 32 x 23 iNCHES, COLOR LiTHOgRAPH - 134495



fRanciso ZÚÑiga (1912 - 1998)mujer con naranja, 80/300, 1974 - 29 x 21 iNCHES, LiTHOgRAPH - 134530



AmayaA R M A N D O

( B . 1 9 3 5 )

Sculptor Armando Amaya is one of Mexico's great interpreters of female form. Like much of the evocative art created in the Latin American tradition, Amaya's work is a confluence of European and indigenous esthetics. Born in Mex-ico City in 1935, Amaya studied at the National School of Painting and Sculpture under Jose Ruiz and Francisco Zúñiga.

In addition to benefiting from formal training, Amaya also learned from his environment. His sensitivity to na-ture taught him reverence for growth, for developing and unfolding shapes. Today, Amaya works directly from the model. His portrayal of the female body is dignified and graceful, a melding of the Mexican Figurative movement with modernist experimentation. His sensual figures maintain a constant tension between inner spirituality and ideal strength: ideals to which Amaya's sculpture consistently testifies.

aRmando amaya (b. 1935)seaTed Woman, 1988- 30 x 18 x 18 iNCHES, MARBLE - 133554



aRmando amaya (b. 1935)Woman WiTH arms oVerHead, AP, 1982 - 28 x 21 x 23 iNCHES, BRONzE - 133551



aRmando amaya (b. 1935)Woman squaTTing, i/Vii, 2001 - 26 x 17 x 19 iNCHES, BRONzE - 133549



VonArtensP E T E R

( 1 9 3 7 - 2 0 0 3 )

Argentinean of European parents (Austrian father and Dutch mother), Peter von Artens moved as a child to Chile where he began his formation in the workshop of the master Miguel Venegas. Establishing himself in Venezuela, von Artens dedicated himself to the genre of still life and nudes. With his move to Miami in 1995, von Artens seemed to overflow with joy. Peter’s paintings celebrate life through the brilliance of the colors of the fruits and the tropical flowers and the simple beauty of his subjects caressed by the light. His talent was further recognized as the portrait painter to important social families throughout South and Latin America through the 1980-90’s. The works of the Argentinean artist are in the permanent collections of the Galeria de Arte Nacional de Caracas, the Museo José Lluis Cuevas, the Museo de Cuenca in Spain and MOLAA in Los Angeles, and in other important private and corporate collections.

PeTeR von aRTens (1937 - 2003)THe PloTTing eye - 51 x 45 iNCHES, OiL ON CANVAS - 124736



PeTeR von aRTens (1937 - 2003)mangos y melones - 40 x 40 iNCHES, OiL ON CANVAS - 132089



PeTeR von aRTens (1937 - 2003)THe abyss - 54 x 45 iNCHES, OiL ON CANVAS - 125011



PeTeR von aRTens (1937 - 2003)Flores TroPicales - 42 x 40 iNCHES, OiL ON CANVAS - 134251



PeTeR von aRTens (1937 - 2003)orquideas - 40 x 40 iNCHES, OiL ON CANVAS - 130511



NovoaG U S TAV O

( b . 1 9 4 1 )

Gustavo Novoa was born in 1941 into a family of lawyers in Santiago, Chile. He attended the Academy of Fine Arts fol-lowed by a year of law school, only to learn that a career behind a desk was not going to satisfy his quest in life.

Accordingly, Novoa made his debut as an artist in the early 1960’s selling watercolors and works in crayon on the streets of Paris, principally Monmartre. His first one-man show was sponsored by the Chilean Ambassador at the Maison de L’Amerique Latin in 1961. The late Queen Victoria Eugenia of Spain sponsored his second show in Lausanne, Switzerland in 1962. Showing in galleries in the Faubourg St. Honore and the Salon de la Jeune Peinture, Novoa completed his Parisian foundation and shortly thereafter became an adoptive “New Yorker.” He credits the move to being lured, like many others, by the American dream and, true to Novoa’s pop nature, to the romance of movies such as “West Side Story”, “Breakfast at Tiffany’s” and “The Wizard of Oz”.

A successful partnership with Guy Burgos and later, Lady Sarah Churchill, led to the opening of the Burgos Gallery on Manhattan’s east side in 1965. By then, his style had evolved into textured oils that the New York Times’ critic, Stuart Preston said, “Novoa seeks to discover in his often fanciful landscapes and still-lives is their identity; that special something that makes them unique.” By the late sixties, Novoa’s subjects had morphed into the gentle jungle denizens that were to be his trademark.

gusTavo novoa (b. 1941)Promenade, 1980 - 36 x 28 iNCHES, ACRYLiC ON CANVAS - 134314



gusTavo novoa (b. 1941)Fall reTreaT .1, 1984 - 51 x 35 iNCHES, ACRYLiC ON CANVAS - 134142 Fall reTreaT .2, 1984 - 51 x 76 iNCHES, ACRYLiC ON CANVAS - 134143Fall reTreaT .3, 1984 - 51 x 35 iNCHES, ACRYLiC ON CANVAS - 134144



gusTavo novoa (b. 1941)Turquoise Trail - 40 x 30 iNCHES, ACRYLiC ON CANVAS - 133995



LozanoM A R G A R I TA

( b . 1 9 3 6 )

As the daughter of a prominent Columbian diplomat and politician, Margarita Lozano has lived throughout the world since her birth in Paris in 1936. It was in Paris, at the Atelier Boissière, where her artistic training began in 1953. After Paris, she went off to Rome to study under Pio Eroli and then to New York where she studied painting, drawing and advertising.

Upon returning to Columbia in 1957, she enrolled at the School of Fine Arts at the Universidad Nacional where she studied under Eduardo Ramìez Villamizar and Fernando Botero. Her continuous travels availed her the museums of the world where she closely studied the works of the old masters. However, it was Pierre Bonnard’s color and light that captured her spirit.

In spite of her extensive traveling and extended stays abroad, Margarita Lozano’s love for Columbia and for the lushness of its tropical nature have been a significant source of inspiration.

maRgaRiTa loZano (b. 1936)Paisaje TroPical con Palmera y lago - 47 x 41 iNCHES, OiL ON CANVAS - 126698



maRgaRiTa loZano (b. 1936)camino a Kenza - 41 x 47 iNCHES, OiL ON CANVAS - 128116



maRgaRiTa loZano (b. 1936)WHiTe Vase WiTH ginger TorcHes - 31 x 27 iNCHES, OiL ON CANVAS - 131265



maRgaRiTa loZano (b. 1936)Heliconias - 39 x 31 iNCHES, OiL ON CANVAS - 131267



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MODERNS - Wally Findlay Galleries...MODERNS WALLY FINDLAY GALLERIES INTERNATIONAL, INC. 165 WORTH...

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Transcript of MODERNS - Wally Findlay Galleries...MODERNS WALLY FINDLAY GALLERIES INTERNATIONAL, INC. 165 WORTH...