“Art is a means of expression that must be understood by everybody, everywhere. It grows out of the earth, the textures of our lives, and our experience.”
—Rufino Tamayo
In 1975, Tamayo returned to the Barcelona workshops of Ediciones Polígrafa, where the artist had continually experimented with enriching the textures of his prints without altering the surface of the paper. In 15 Aguafuertes (15 Etchings), Tamayo handled the rich texture of the prints with different media, notably, with carborundum. The material, notoriously difficult to use, was an ally for Tamayo in his quest for textural variety, enabling him to make the flat colors of his backgrounds shine, further animating his figures.
Though the subjects of 15 Aguafuertes (15 Etchings) are familiar characters of Tamayo’s – from heads and torsos to watermelons – each carries its own charm, demonstrating Tamayo’s inventiveness and humor. Chief among this group is Cabeza con Iniciales (Head with Initials), a strange profile that exemplifies Tamayo’s influence from Dubuffet and art brut at large. Of the fifteen works in the portfolio, Tamayo would choose this image, with its austere colors, for a massive poster advertising his 1975 exhibition at Florence’s Palazzo Strozzi.
Hombre in sombrero, Personage en verde (Personage in Green), and Dos Cabezas (Two Heads) additionally reiterate Tamayo’s interest in the raw expression of art brut. In each aquatint, the different applications of inks and colors result in great textural and tonal variety, some exuding fluorescent hues. While the works Cabeza (Head) and Torso share the same poeticism as these three, their elegant monochromatic tones set them apart. Amidst the series of human forms is the dramatic Interior con sandía (Interior with Watermemlon), which takes Tamayo’s signature watermelon symbol and elevates it to the status of a cult object: placed on a table and surrounded by a thick frame or very low ceiling, the fruit appears like an actor in a theatrical performance.
The series also features two female nudes: Personaje a contraluz (Personage Against the Light), which silhouettes a figure against the strong light entering a semicircular arch; with her arms outstretched, she welcomes the sunlight that projects a shadow of the same visual density as her body. Similarly dramatic but much more somber is Mujer en blanco (Woman in White), which depicts a monochrome scene of a woman’s outline projected against a white wall. There are also two nocturnal landscapes: the more minimalist Paisage (Landscape) and the more figural Nocturno (Norcturne).
Finally, a more conceptual usage of nocturnal elements, Personaje, luna y estrella (Personage, Moon and Star) describes one of the central themes of Tamayo’s work: man confronting the universe, represented by stars and the waning moon.
Literature
Juan Carlos Pereda 170-172, 174-181 and 183-184
Catalogue Essay
Including: Personaje en Blanco (Personage in White); Personaje a Contraluz (Personage Against the Light); Cabeza con Iniciales (Head with Initials); Mujer en Blanco (Woman in White); Hombre con Sombrero (Man with Hat); Torso; Cabeza (Head); Personaje en verde (Personage in Green); Paisaje (Landscape); Interior con Sandía (Interior with Watermelon); Personaje (Luna y Estrella) (Personage (Moon and Star); Nocturno (Nocturne); and Dos Cabezas (Two Heads)
Born in Oaxaca, Mexico, Rufino Tamayo was an incredibly prolific artist working until his death at the age of 91. Half-European and half-Zapotec Indian, Tamayo produced work that was defined by his mestizo, or mixed-blood, heritage. Through his studies, Tamayo was exposed to every artistic school of his time including Fauvism, the classical French school, Cubism and Abstract Expressionism, all of which contributed to his style as it developed throughout his life.
Tamayo reacted strongly against the Mexican muralists who dominated the art scene during his coming of age. Instead, his work is firmly grounded in realism while taking creative liberties in color and composition. His art emulates a unique blend of Cubism and Surrealism, joined with a deep understanding of Mexican culture.
1975 Thirteen etching and carborundums in colors, on Guarro paper, the full sheets, all contained in a tan linen portfolio. all S. 29 1/2 x 22 in. (74.9 x 55.9 cm) (five horizontal) All signed and numbered 'HC C/10' in pencil (the edition was 75 and 10 artist's proofs in Roman numerals), published by Ediciones Polígrafa, S.A., Barcelona, all unframed.