Diego Rivera Naturaleza muerta (Composición con alcachofas y limones) 1916 oil on canvas 10 5/8 x 15 in. (27 x 38.1 cm.) Initialed "DMR" lower left. This work has been authenticated by Mr. Luis Martín Lozano.
Provenance Berthold Mahn, Paris Christie's, New York, Important Latin American Paintings, Drawings and Sculpture, May 18, 1992, lot 60 Private Collection Sotheby's, New York, Latin American Paintings, Drawings, Sculpture and Prints, Part I, November 15, 1994, lot 22 Collection of Pedro Vallenila Echevarría, Caracas CDS Gallery, New York Acquired from the above by the present owner Exhibited Caracas, Museo de Bellas Artes, Obras cubistas y collages, February 1966 Caracas, Fundación Eugenio Mendoza, August 1968 Caracas, Museo de Bellas Artes, Obras cubistas y collages II, February 1970 Bordeaux, Galerie des Beaux Arts, Les Cubistes, 4 May - 10 November, 1973, then travelled to Paris, Musée d'Art Moderne (4 May - 10 November, 1973), Rome, Galleria Nazionale D'Arte Moderna (6 December 1973 - 18 January 1974) Caracas, Museo de Arte Contemporáneo, Inaugural de Museo de Arte Contemporáneo, February 1974 Austin, The University of Texas at Austin, Loan Collections from Latin America, February - March 1976 Literature L. Cortés Gutiérrez, Diego Rivera Catálogo general de obra de caballete, Mexico City: Instituto Nacional de Bellas Artes, 1989, No. 169, p. 30 (illustrated) This painting is part of the National Heritage of Mexico and cannot be removed from that country. Accordingly, it is offered for sale in New York from the catalogue and will not be available in New York. Delivery of the painting will be made in Mexico in compliance with local requirements. Prospective buyers may contact Phillips representatives for an appointment to view the work in Mexico City. Catalogue Essay “I’ve never believed in God, but I believe in Picasso.” Diego Rivera Diego Rivera is arguably the most important Mexican modernist painter of his time. Rivera’s artistic sensibilities and pictorial innovations — forged in the creative sparks that emanated from the anvil of Cubism in Europe at the turn of the 20th century — constitute one of the main factors that would revolutionize art in Mexico and instigate the Mexican Mural Movement. Rivera started drawing at the tender age of three and his parents, immediately recognizing his talent, supported him wholeheartedly. By his tenth birthday Rivera had enrolled in the Academy of San Carlos and become a pupil of two seminal figures in the history of Mexican art; José María Velasco and Santiago Rebull In 1907, the Mexican government and Dr. Atl — an established Mexican artist and a pioneer in the development of monumental public art — sponsored his studies in Spain under Eduardo Chicharro. He then spent the next 14 years in Europe, painting prolifically, and rining the more technical aspects of a wide variety of styles. in Paris, he met and befriended a series of Cubist and Fauvist painters, such as Picasso, Derain, Braque, Gris and Modigliani. During this pivotal period in his career from 1913 to 1917, Rivera painted in a Cubist style. It was this European education and his introduction to the Parisian intelligentsia, coupled with his solid artistic education in Mexico that helped him develop his personal and distinctive pictorial style. Rivera’s most significant influence during this time was Orphic Cubism. In this, more analytical initial phase of Cubism, the artist transforms the object by deconstructing and reassembling it to depict the subject from a multitude of viewpoints, in an abstracted form; thus representing it in a wider context. By concentrating on the compositional strategy, the artist was able to further transform the object to suggest angular and curvilinear surfaces, and by regulating dark and light tones, which were traditionally monochromatic. Yet it is precisely through color that Rivera distinguished himself from the more austere Cubist palette and pioneers of the movement, such as Picasso and Braque, who focused on pure abstraction. Rivera’s colors, on the other hand, can be read as Mexican, finding their sources in his home country’s vibrant markets and brightly colored sarapes. The bold col
Diego Rivera Naturaleza muerta (Composición con alcachofas y limones) 1916 oil on canvas 10 5/8 x 15 in. (27 x 38.1 cm.) Initialed "DMR" lower left. This work has been authenticated by Mr. Luis Martín Lozano.
Provenance Berthold Mahn, Paris Christie's, New York, Important Latin American Paintings, Drawings and Sculpture, May 18, 1992, lot 60 Private Collection Sotheby's, New York, Latin American Paintings, Drawings, Sculpture and Prints, Part I, November 15, 1994, lot 22 Collection of Pedro Vallenila Echevarría, Caracas CDS Gallery, New York Acquired from the above by the present owner Exhibited Caracas, Museo de Bellas Artes, Obras cubistas y collages, February 1966 Caracas, Fundación Eugenio Mendoza, August 1968 Caracas, Museo de Bellas Artes, Obras cubistas y collages II, February 1970 Bordeaux, Galerie des Beaux Arts, Les Cubistes, 4 May - 10 November, 1973, then travelled to Paris, Musée d'Art Moderne (4 May - 10 November, 1973), Rome, Galleria Nazionale D'Arte Moderna (6 December 1973 - 18 January 1974) Caracas, Museo de Arte Contemporáneo, Inaugural de Museo de Arte Contemporáneo, February 1974 Austin, The University of Texas at Austin, Loan Collections from Latin America, February - March 1976 Literature L. Cortés Gutiérrez, Diego Rivera Catálogo general de obra de caballete, Mexico City: Instituto Nacional de Bellas Artes, 1989, No. 169, p. 30 (illustrated) This painting is part of the National Heritage of Mexico and cannot be removed from that country. Accordingly, it is offered for sale in New York from the catalogue and will not be available in New York. Delivery of the painting will be made in Mexico in compliance with local requirements. Prospective buyers may contact Phillips representatives for an appointment to view the work in Mexico City. Catalogue Essay “I’ve never believed in God, but I believe in Picasso.” Diego Rivera Diego Rivera is arguably the most important Mexican modernist painter of his time. Rivera’s artistic sensibilities and pictorial innovations — forged in the creative sparks that emanated from the anvil of Cubism in Europe at the turn of the 20th century — constitute one of the main factors that would revolutionize art in Mexico and instigate the Mexican Mural Movement. Rivera started drawing at the tender age of three and his parents, immediately recognizing his talent, supported him wholeheartedly. By his tenth birthday Rivera had enrolled in the Academy of San Carlos and become a pupil of two seminal figures in the history of Mexican art; José María Velasco and Santiago Rebull In 1907, the Mexican government and Dr. Atl — an established Mexican artist and a pioneer in the development of monumental public art — sponsored his studies in Spain under Eduardo Chicharro. He then spent the next 14 years in Europe, painting prolifically, and rining the more technical aspects of a wide variety of styles. in Paris, he met and befriended a series of Cubist and Fauvist painters, such as Picasso, Derain, Braque, Gris and Modigliani. During this pivotal period in his career from 1913 to 1917, Rivera painted in a Cubist style. It was this European education and his introduction to the Parisian intelligentsia, coupled with his solid artistic education in Mexico that helped him develop his personal and distinctive pictorial style. Rivera’s most significant influence during this time was Orphic Cubism. In this, more analytical initial phase of Cubism, the artist transforms the object by deconstructing and reassembling it to depict the subject from a multitude of viewpoints, in an abstracted form; thus representing it in a wider context. By concentrating on the compositional strategy, the artist was able to further transform the object to suggest angular and curvilinear surfaces, and by regulating dark and light tones, which were traditionally monochromatic. Yet it is precisely through color that Rivera distinguished himself from the more austere Cubist palette and pioneers of the movement, such as Picasso and Braque, who focused on pure abstraction. Rivera’s colors, on the other hand, can be read as Mexican, finding their sources in his home country’s vibrant markets and brightly colored sarapes. The bold col
.jpg "Quelle: Christie's")
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