Rufino Tamayo [Litografías, Mixografías]

Rufino Tamayo

Rufino Tamayo fotografiado por / photographed by Irving Penn, Vogue en 1947

Rufino Tamayo (25 de agosto de 1899 - 24 de junio de 1991). Destacado pintor mexicano, nació en Heroica Ciudad de Tlaxiaco, Oaxaca, México. Falleció en la Ciudad de México.

Ya publiqué hace un tiempo algunos trabajos de Tamayo en la serie de los perros. Aquí una selección de algunas de sus litografías, xilografías, mixografías y trabajos en otras técnicas, así como algunos datos más de su perfil biográfico.

"Chacal / Jackal", "Mexican Masters Suite", litografía en color sobre papel Arches /

lithography on Arches paper, 22 1/16" x 29 7/8", 1973

"El Brindis / The Toast", litografía a color sobre papel vitela /

Color lithography on vellum paper, 15 1/4" x 21", lámina 15 7/8" x 21 1/2", 1957

Rufino Tamayo tuvo su primera muestra individual en 1926, año en que viajó a Nueva York donde expuso en la Weyhe Gallery Rufino Tamayo: Painting, Watercolors, Drawings, and Woodcuts (Rufino Tamayo: pinturas, acuarelas, dibujos y grabados). Fue en Nueva York que comenzó a ser directamente influido por las obras que allí encontró de Matisse, Picasso y Braque, entre otros. De regreso en México, en 1928 fue profesor en la Escuela de Bellas Artes. Durante años, se desempeño como profesor de pintura en diversas escuelas de la Secretaría de Educación Pública.

Posteriormente residió catorce años en Estados Unidos, exponiendo y realizando diversos murales. También fue profesor en la Dalton School, donde fue maestro de Helen Frankenthaler.Se dio a conocer en Europa en la Bienal de Venecia de 1950.

Tras vivir en París, Tamayo retornó a México en 1960. En 1974 inauguró en la ciudad de Oaxaca el Museo Rufino Tamayo de arte Prehispánico, donando su enorme colección de arte prehispánico. En 1981, donó su colección de arte internacional a la nación, formando así el núcleo central de la colección del Museo Tamayo Arte Contemporáneo, en Ciudad de México.

"Frutero con manzanas / Fruiterer with Apples", mixografía en colores sobre papel hecho a mano / 

color mixography on hand made paper, 34 1/4" x 24 1/4", lámina / sheet 39 1/2" x 29 1/4", 1981

"El Personaje / The Character", litografía en colores sobre papel River BFK /

color lithography on River BFK paper, lámina / sheet 29 5/8" x 22 1/8", 1975

"El Rebozo azul / The Blue Shawl", témpera sobre papel / tempera on paper, 43,5 x 33,3 cm., 1944

Rufino Tamayo (August 26, 1899 – June 24, 1991) was a Mexican painter of Zapotec heritage, born in Oaxaca de Juárez, Mexico. Tamayo was active in the mid-20th century in Mexico and New York, painting figurative abstraction with surrealist influences.

I've published a few works in the "Painting dogs" series. Here a selection of his lithographs, woodcuts, mixographies and other artworks using several technics.

"Mujer en lila / Woman in Lilac", de "Suite Mujeres" / from "Women Suite",

Litografía en colores sobre papel Rives / Color lithography on Rives paper

27" x 20 3/4", lámina / sheet 30" x 22 3/8", 1969

"Perfil / Profile", mixografía en color sobre papel Arches /

Color mixography on Arches paper, lámina / sheet 23 1/2" x 15 3/4", 1977

"Hombre / Man", litografía en color sobre papel Rives BFK /

Color lithography on River BFK paper, 20 1/2" x 17", lámina / sheet 25 1/4" x 19 1/2", 1950

Rufino Tamayo, along with other muralists such as Rivera, Orozco, and Siqueiros represented the twentieth century, in their native country of Mexico. After the Mexican Revolution, Tamayo devoted himself to creating an identity in his work. Tamayo expressed what he believed was the traditional Mexico and did not create more overt political art like his contemporaries, such as José Clemente Orozco, Diego Rivera, Oswaldo Guayasamin, and David Alfaro Siqueiros. He disagreed with these muralists in their belief that the revolution was necessary for the future of Mexico; Tamayo believed that since Mexicans began the revolution they were only going to get hurt by it. He expressed this belief in his painting, Children Playing with Fire (1947). In this image, Tamayo shows two individuals being burnt by a fire they have created, symbolizing the people in Mexico being hurt by its own choice. Tamayo claimed that Mexico is becoming and will continue to be hurt from a war it created. Tamayo claimed, “We are in a dangerous situation, and the danger is that man may be absorbed and destroyed by what he has created”. Due to his opinion, he was seen by some as a "traitor" to the political cause, and he felt he could not freely express his art, so in 1926, he decided to leave Mexico and move to New York. Prior to leaving, he organized a one-man show of his work in Mexico City, where he was noticed for his individuality. Tamayo returned to Mexico in 1929 to have another solo show, this time being met with high praise and media coverage.

"Hombre en la ventana / Man in the Window", mixografía en colores sobre papel hecho a mano /

Color mixography on hand made paper, lámina / sheet 35 1/2" x 27 1/2", 1980

"Mujer con medias malva / Woman With Mauve Stockings", litografía en colores sobre papel vitela /

Color lithography on vellum paper, 27 1/2" x 21", lámina / sheet 30" x 22 1/2", 1969

"Quetzalcóatl", mixografía en colores sobre papel grueso hecho a mano / 

color mixography on thick hand made paper, 24" x 47 3/4", lámina / sheet 27 3/4" x 53 3/4", 1978

"Quetzalcóatl", mixografía / mixography (detalle / detail)

"Sirenas / Mermaids"

Xilografía sobre papel vitela / woodcut on vellum paper, 6 1/8" x 8 3/8", lámina / sheet 7 1/4" x 10", 1925

Rufino Tamayo’s legacy in the history of art is truly found in Tamayo’s oeuvre of original graphic prints, in which Tamayo cultivated every technique. Rufino Tamayo’s graphic work was produced between 1925 and 1991 and includes the mediums of woodcuts, lithographs, etchings and Mixografia prints. With the help of Mexican painter and engineer Luis Remba, Tamayo expanded the technical and aesthetic possibilities of the graphic arts by developing a new medium, which they named "Mixografia". The Mixografia technique is a unique fine art printing process that allows for the production of prints with three-dimensional texture. The technique not only registered the texture and volume of Rufino Tamayo's design, but it also granted Tamayo the freedom to use any combination of solid materials in its creation. Rufino Tamayo was delighted with the Mixografia process, and Tamayo created some 80 original Mixographs. One of their most famous Mixografia was titled Dos Personajes Atacados por Perros (Two Characters Attacked by Dogs).

"Demi-poisson / Medio pez / Half-fish", litografía en colores sobre papel Rives BFK /

Color lithography on Rives BFK paper, 21 1/8" x 27 7/8", lámina / sheet 22 3/8" x 29 7/8", 1969

"Dos personajes / Two Characters", litografía en colores sobre papel Arches /

Color lithography on Arches paper, 25" x 35 3/4", lámina / sheet 25 1/4" x 36", 1972

Rufino Tamayo en "El Hurgador" / in this blog: [Todos los enlaces / All Links]

Irving Penn en "El Hurgador" / in this blog: [Todos los enlaces / All Links]

Como complemento al post anterior con trabajos de Rufino referidos a perros, algunos más que encontré en la red.
Complementing the previous post with Tamayo's works with dogs, a few more that I've found surfing the net.

"El perro mueve la cola / The Dog Wags its Tail", mixografía en colores sobre papel Arches /

Color mixography on Arches paper, lámina / sheet 22 1/4 x 30", 1974

"Perro / Dog", grabado / engraving, 55,5 x 75,5 cm., 1979

"Perro ladrándole a la luna / Dog Barking at the Moon", litografía en colores sobre papel Arches /

color lithography on Arches paper, 22 1/2" x 30 3/4", lámina / sheet 27" x 35 1/4", 1988

"Perro / Dog" de "Rufino Tamayo, 15 litografías", litografía en colores sobre papel vitela /

color lithography on vellum paper, 22 1/8" x 29 7/8", 1973