#hispanicart — Public Fediverse posts

By Rosa Rolanda (1895-1970), Niña de la muñeca, 1943, oil on canvas, 65 x 50 cm, La Colección Andrés Blaisten. #WomensHistoryMonth #womanartist #womenartists #hispanicart #hispanicartist

From the website: “A photograph of Rosa Rolanda captures the artist at work on the oil painting Niña de la muñeca in her home in Tizapán. She sits at her easel surrounded by a large collection of prehispanic sculptures, which she and her husband avidly collected, along with folk art. Rolanda was originally from California, of Scottish and Mexican descent, but as the photo and Niña de la muñeca demonstrate, she ascribed fully to the ideals of lo mexicano in her adopted country. Niña de la muñeca depicts a little girl sitting in an equipal. She wears a light pink dress with a matching bow in her hair, and does not smile, but gazes out solemnly as she tightly clutches a doll dressed as a tehuana. At her feet is another toy—perhaps from Rolanda's own collection—a clay or plaster sculpture of man on horseback, playing a guitar. In this painting, Rolanda closely follows a theme and style developed by Diego Rivera in images such as Modesta (1937, The Jacques and Natasha Gelman Collection) in which young, often indigenous children with wide, almond-shaped eyes and thickly rounded bodies –and often holding toys- are celebrated as the purest embodiment of the Mexican nation. While the sincerity of this sentiment should not be contested, such images were highly popular among collectors in the United States. Unlike Rivera, however, Rolanda does not appear to have considered herself a professional artist, once stating, "I paint for pleasure. I don't exhibit in galleries. People who see my paintings in my house and like them buy them directly from me". However, discerning collectors like Stanley Marcus and Fred Davis did acquire her work. Niña de la muñeca also pays tribute to Rolanda's good friend Frida Kahlo, as the girl's tehuana doll bears Kahlo's iconic, thickly joined eyebrows. The humorous "portrait" is especially clever in that Kahlo also had a large collection of dolls, and the painting interestingly prefigures the Kahlo "cult" that has led to the proliferation of her likeness on mugs, shirts, posters, and indeed dolls.

Vide Terri Geis, Arte moderno de México. Colección Andrés Blaisten, Mexico, Universidad Nacional Autonóma de México, 2005.”

By Rosa Rolanda (1895-1970), Niña de la muñeca, 1943, oil on canvas, 65 x 50 cm, La Colección Andrés Blaisten. #WomensHistoryMonth #womanartist #womenartists #hispanicart #hispanicartist

From the website: “A photograph of Rosa Rolanda captures the artist at work on the oil painting Niña de la muñeca in her home in Tizapán. She sits at her easel surrounded by a large collection of prehispanic sculptures, which she and her husband avidly collected, along with folk art. Rolanda was originally from California, of Scottish and Mexican descent, but as the photo and Niña de la muñeca demonstrate, she ascribed fully to the ideals of lo mexicano in her adopted country. Niña de la muñeca depicts a little girl sitting in an equipal. She wears a light pink dress with a matching bow in her hair, and does not smile, but gazes out solemnly as she tightly clutches a doll dressed as a tehuana. At her feet is another toy—perhaps from Rolanda's own collection—a clay or plaster sculpture of man on horseback, playing a guitar. In this painting, Rolanda closely follows a theme and style developed by Diego Rivera in images such as Modesta (1937, The Jacques and Natasha Gelman Collection) in which young, often indigenous children with wide, almond-shaped eyes and thickly rounded bodies –and often holding toys- are celebrated as the purest embodiment of the Mexican nation. While the sincerity of this sentiment should not be contested, such images were highly popular among collectors in the United States. Unlike Rivera, however, Rolanda does not appear to have considered herself a professional artist, once stating, "I paint for pleasure. I don't exhibit in galleries. People who see my paintings in my house and like them buy them directly from me". However, discerning collectors like Stanley Marcus and Fred Davis did acquire her work. Niña de la muñeca also pays tribute to Rolanda's good friend Frida Kahlo, as the girl's tehuana doll bears Kahlo's iconic, thickly joined eyebrows. The humorous "portrait" is especially clever in that Kahlo also had a large collection of dolls, and the painting interestingly prefigures the Kahlo "cult" that has led to the proliferation of her likeness on mugs, shirts, posters, and indeed dolls.

Vide Terri Geis, Arte moderno de México. Colección Andrés Blaisten, Mexico, Universidad Nacional Autonóma de México, 2005.”

By Rosa Rolanda (1895-1970), Niña de la muñeca, 1943, oil on canvas, 65 x 50 cm, La Colección Andrés Blaisten. #WomensHistoryMonth #womanartist #womenartists #hispanicart #hispanicartist

From the website: “A photograph of Rosa Rolanda captures the artist at work on the oil painting Niña de la muñeca in her home in Tizapán. She sits at her easel surrounded by a large collection of prehispanic sculptures, which she and her husband avidly collected, along with folk art. Rolanda was originally from California, of Scottish and Mexican descent, but as the photo and Niña de la muñeca demonstrate, she ascribed fully to the ideals of lo mexicano in her adopted country. Niña de la muñeca depicts a little girl sitting in an equipal. She wears a light pink dress with a matching bow in her hair, and does not smile, but gazes out solemnly as she tightly clutches a doll dressed as a tehuana. At her feet is another toy—perhaps from Rolanda's own collection—a clay or plaster sculpture of man on horseback, playing a guitar. In this painting, Rolanda closely follows a theme and style developed by Diego Rivera in images such as Modesta (1937, The Jacques and Natasha Gelman Collection) in which young, often indigenous children with wide, almond-shaped eyes and thickly rounded bodies –and often holding toys- are celebrated as the purest embodiment of the Mexican nation. While the sincerity of this sentiment should not be contested, such images were highly popular among collectors in the United States. Unlike Rivera, however, Rolanda does not appear to have considered herself a professional artist, once stating, "I paint for pleasure. I don't exhibit in galleries. People who see my paintings in my house and like them buy them directly from me". However, discerning collectors like Stanley Marcus and Fred Davis did acquire her work. Niña de la muñeca also pays tribute to Rolanda's good friend Frida Kahlo, as the girl's tehuana doll bears Kahlo's iconic, thickly joined eyebrows. The humorous "portrait" is especially clever in that Kahlo also had a large collection of dolls, and the painting interestingly prefigures the Kahlo "cult" that has led to the proliferation of her likeness on mugs, shirts, posters, and indeed dolls.

Vide Terri Geis, Arte moderno de México. Colección Andrés Blaisten, Mexico, Universidad Nacional Autonóma de México, 2005.”

By Rosa Rolanda (1895-1970), Niña de la muñeca, 1943, oil on canvas, 65 x 50 cm, La Colección Andrés Blaisten. #WomensHistoryMonth #womanartist #womenartists #hispanicart #hispanicartist

From the website: “A photograph of Rosa Rolanda captures the artist at work on the oil painting Niña de la muñeca in her home in Tizapán. She sits at her easel surrounded by a large collection of prehispanic sculptures, which she and her husband avidly collected, along with folk art. Rolanda was originally from California, of Scottish and Mexican descent, but as the photo and Niña de la muñeca demonstrate, she ascribed fully to the ideals of lo mexicano in her adopted country. Niña de la muñeca depicts a little girl sitting in an equipal. She wears a light pink dress with a matching bow in her hair, and does not smile, but gazes out solemnly as she tightly clutches a doll dressed as a tehuana. At her feet is another toy—perhaps from Rolanda's own collection—a clay or plaster sculpture of man on horseback, playing a guitar. In this painting, Rolanda closely follows a theme and style developed by Diego Rivera in images such as Modesta (1937, The Jacques and Natasha Gelman Collection) in which young, often indigenous children with wide, almond-shaped eyes and thickly rounded bodies –and often holding toys- are celebrated as the purest embodiment of the Mexican nation. While the sincerity of this sentiment should not be contested, such images were highly popular among collectors in the United States. Unlike Rivera, however, Rolanda does not appear to have considered herself a professional artist, once stating, "I paint for pleasure. I don't exhibit in galleries. People who see my paintings in my house and like them buy them directly from me". However, discerning collectors like Stanley Marcus and Fred Davis did acquire her work. Niña de la muñeca also pays tribute to Rolanda's good friend Frida Kahlo, as the girl's tehuana doll bears Kahlo's iconic, thickly joined eyebrows. The humorous "portrait" is especially clever in that Kahlo also had a large collection of dolls, and the painting interestingly prefigures the Kahlo "cult" that has led to the proliferation of her likeness on mugs, shirts, posters, and indeed dolls.

Vide Terri Geis, Arte moderno de México. Colección Andrés Blaisten, Mexico, Universidad Nacional Autonóma de México, 2005.”

By Rosa Rolanda (1895-1970), Niña de la muñeca, 1943, oil on canvas, 65 x 50 cm, La Colección Andrés Blaisten. #WomensHistoryMonth #womanartist #womenartists #hispanicart #hispanicartist

From the website: “A photograph of Rosa Rolanda captures the artist at work on the oil painting Niña de la muñeca in her home in Tizapán. She sits at her easel surrounded by a large collection of prehispanic sculptures, which she and her husband avidly collected, along with folk art. Rolanda was originally from California, of Scottish and Mexican descent, but as the photo and Niña de la muñeca demonstrate, she ascribed fully to the ideals of lo mexicano in her adopted country. Niña de la muñeca depicts a little girl sitting in an equipal. She wears a light pink dress with a matching bow in her hair, and does not smile, but gazes out solemnly as she tightly clutches a doll dressed as a tehuana. At her feet is another toy—perhaps from Rolanda's own collection—a clay or plaster sculpture of man on horseback, playing a guitar. In this painting, Rolanda closely follows a theme and style developed by Diego Rivera in images such as Modesta (1937, The Jacques and Natasha Gelman Collection) in which young, often indigenous children with wide, almond-shaped eyes and thickly rounded bodies –and often holding toys- are celebrated as the purest embodiment of the Mexican nation. While the sincerity of this sentiment should not be contested, such images were highly popular among collectors in the United States. Unlike Rivera, however, Rolanda does not appear to have considered herself a professional artist, once stating, "I paint for pleasure. I don't exhibit in galleries. People who see my paintings in my house and like them buy them directly from me". However, discerning collectors like Stanley Marcus and Fred Davis did acquire her work. Niña de la muñeca also pays tribute to Rolanda's good friend Frida Kahlo, as the girl's tehuana doll bears Kahlo's iconic, thickly joined eyebrows. The humorous "portrait" is especially clever in that Kahlo also had a large collection of dolls, and the painting interestingly prefigures the Kahlo "cult" that has led to the proliferation of her likeness on mugs, shirts, posters, and indeed dolls.

Vide Terri Geis, Arte moderno de México. Colección Andrés Blaisten, Mexico, Universidad Nacional Autonóma de México, 2005.”

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https://blantonmuseum.org/exhibition/spirit-splendor/

I went to this exhibition of baroque art from Spain and Latin America on Saturday evening.

Just under sixty works from New York's Hispanic Society Museum & Library are on display at the UT-Austin's Blanton Museum.

The Blanton is open until 8:00 PM on Saturday evenings. I wish more museums were able to open after regular working hours.

I enjoyed and learned from the exhibition. although I was disappointed to see that there was no catalogue published especially for the exhibition.

In the thread, I will pick out three pictures that particularly caught my attention.

#Art #Baroque #HispanicArt #Painting #SpanishArt #LatinAmericanArt #BlantonMuseum #HispanicSocietyMuseumAndLibrary

By Mexican artist Jesús Guerrero Galván (1910-1973), “Niña con perico,” 1938, oil on canvas, 23½ x 19½ in. (60 x 50 cm.), sold at auction, Christie’s New York, in 2007 for $96,000. Alas, I couldn’t find a better resolution jpeg. #Art #hispanicart #mexicanart #MexicoArt

From Wikipedia: “Jesús Guerrero Galván… was a Mexican artist, a member of the Mexican muralism movement of the early 20th century. He began his career in Guadalajara but moved to Mexico City to work on mural projects in the 1930s for the Secretaría de Educación Pública and Comisión Federal de Electricidad In addition, he did easel paintings, with major exhibitions in the United States and Mexico. In 1943, he was an artist-in-residence for the University of New Mexico, painting the mural Union of the Americas Joined in Freedom, considered to be one of his major works. Guerrero Galván was accepted as a member of the Salón de la Plástica Mexicana…

Guerrero Galván was one of the most prolific figurative painters from 20th century Jalisco, part of the Mexican muralism movement… While best known for mural painting, the artist also worked on canvas, lithography and illustration, noted as a draughtsman and colorist… His important works include Fecundidad en el "Olimpo House", La unión de las Américas bajo la égida de la libertad, La niña, Juárez niño, El retrato de la señora de Macotela, El Sueño, La Danza de los venados, La Tierra and El génesis del Popol Vuh…

His style has been characterized as magical realism and poetic, with influences from Italian painting, Jalisco folk art and other aspects of Mexican culture.. Elements in his work include eye expressions indicating placidity in his figures, eyes gazing into infinity and the lack of emotion in the lips. Although he was political in his personal life and part of the muralism movement, his artwork did not have a political or social message. Recurring themes in his easel work is the reality of the Mexican child and a woman on her own with a child, depicting a woman as a mother above all. These are often on sparse settings and the children can seem to be in a kind of limbo…

He was also noted as a portrait painter, with many of his best featuring women and children.”