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Woman with Bird Cage by Tamayo Author(s): Dorothy Odenheimer Source: Bulletin of the Art Institute of Chicago (1907-1951), Vol. 37, No. 3 (Mar., 1943), pp. 33-35 Published by: The Art Institute of Chicago Stable URL: http://www.jstor.org/stable/4116273 . Accessed: 05/08/2013 09:24
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which he knew until then only from half-tone reproductions. often produces exciting parallels. His oils are characterized by a dry chalky surface and juicy color. as has many a painter before him. there is a latent ferocity.9 x 84. Orozco. he remained there to study and ever since has traveled frequently between New York and Mexico. 5 Aug 2013 09:24:09 AM All use subject to JSTOR Terms and Conditions . and Siqueiros. This is reinforced by the vivid touches of orange-red which appear everywhere. together with Siqueiros. 12. although he. In 1926 Tamayo's first exhibition was held in a vacant shop in Mexico City and that same year his oils. which varies from raspberry pink to the deepest redbrown of the Mexican tezontle. Crawfordsville. Acceptance for This content downloaded from 130. The Art Institute's recently acquired Woman with Bird Cage2 is a fine example of this new tendency. five issues monthly. otherwise $I. beyond the pleasing composition and careful balance of grays and blacks. To the wild. 1917.34 BULLETIN OF THE ART INSTITUTE OF CHICAGO WOMAN WITH BIRD CAGE BY TAMAYO and man of the world. he went to Mexico City to live with an aunt who kept a little fruit and fuel store. Mexico. coming to a climax of hor2 E. Tamayo. Modern Mexican Art (Minneapolis courtesy of the Pierre Matisse Gallery. where the newest and the oldest meet. Number 3. Schmeckebier. Purchased through the Pierre Matisse Gallery. first established his reputation. record all the aspects of daily life which have become almost ritual and which have scarcely changed since the Conquest. February. of Zapotec Indian stock. December. Rufino Tamayo is one of the big four in contemporary Mexican art. won his place chiefly by his easel paintings. mailing at special rate of postage provided for in section II03. 1918.oo per year. under the Act of August 24.49. it was painted in New York where some of his most Mexican work has been done. authorized on June 28. (Mexico. too. 1The principal sources for information about Tamayo are: MacKinley Helm. RIMITIVE and sophisticate. a porous stone of volcanic origin.' Orphaned in 1907. Volume XXXVII. He likes gray and brown and red. In 1917 he entered the National Academy but the official stupidity of its teaching disgusted him so he left the school and continued to study by himself. No. There for the first time he saw modern French painting. in 1899. 43/4 x 33/4 inches (o09. The others. Indiana. and on the architectural forms. Signed and dated." January 20-February 14. He works carefully and slowly and has even turned to sculpture. browns. November. but Tamayo. [C1939]). went to New York in 1936 as a delegate from the Mexican National Association of Artists to the Congress of Revolutionary Artists. Subscription included in membership fee. did a fine wall on the stairway of Mexico City's National Conservatory of Music. mountainous Oaxaca. lower right: Tamayo 41 Painted in New York. a masked feeling of menace. and prints were shown at the Weyhe Galleries in New York. Pierre Matisse Gallery.5 Published two issues bi-monthly September-October. draperies. April-May. Like Siqueiros. I also [C1941]). Indiana.Indian Having had strength to resist the vogue for his water colors. to aid him in his realization of form. I918. cat. on dress. Tamayo worked on increasingly monumental oils and gouaches. squatting in the market. Modern Mexican Painters (New York and London Merida. January. are celebrated for their powerfully conceived and magnificently executed frescoes. Entered as second class matter January 17. At first glance you are likely to say: "Decorative. Curiously enough. Crawfordsville. Rivera. 1912. on the mouth. Act of October 3. which might have led to endless repetition. greens. by The Art Institute of Chicago at Ioo9 Sloan Street. March.5 on Mon.). making bread. water colors. New York. or to the Chicago office at Adams Street and Michigan Avenue. but perhaps a bit reminiscent of Braque. at the Post Office at Crawfordsville. Correspondence pertaining to subscriptions may be sent to oo009 Sloan Street. Tamayo was born in remote. 1942. Delightful water colors in a low key. Exhibited: New York. Artists Modern Mexican owe certain data to the Laurence cm. one of Mexico's southernmost states. for the Joseph Winterbotham Collection. original in color. He haunted the great archaeological museum in Mexico City and rediscovered the past of his own people. along the contours of the figure. imaginative child her practicality and piety became unbearable and he ran away.198. Oil on canvas. Indiana. Carlos 1937). here and there accented by red or a gleam of yellow. These studies of Indians paddling at Xochimilco." However. land of opposites. blue and pink. "Figure Pieces in Modern Painting. The fusion of the new and the old is implicit in Tamayo's Woman with Bird Cage. selling fruit.

WINTERBOTHAM COLLECTION.5 on Mon.49. 1899- ).BULLETIN OF THE ART OF INSTITUTE CHICAGO MARCH NINETEEN FORTY-THREE WOMAN WITH BIRD CAGE BY RUFINO TAMAYO (MEXICAN. THE JOSEPH VOLUME XXXVII THIS ISSUE CONSISTS OF THREE PARTS OF WHICH THIS PART III IS THE ANNUAL REPORT IS PART I NUMBER 3 This content downloaded from 130. 5 Aug 2013 09:24:09 AM All use subject to JSTOR Terms and Conditions .198.

With increasing economic betterment. Mexico's cultural contribution to the art of the western world will grow ever richer. and one each by Charlot. These clutch the golden green cage like those of a rapacious goddess. Beyond the sophisticated image of this ancestral goddess. THE ABSTRACT QUALITY OF THIS AND SIMILAR PRECOLUMBIAN WORK HAS INFLUENCED TAMAYO MORE THAN THE PAINTINGS OF EUROPEANS LIKE BRAQUE AND PICASSO. three by Rivera. The Art Institute now owns two paintings of the important modern Mexican school. OAXACA.49. the Leader. Both bird and cage are superbly painted. I have reproduced a fragment of a wall painting discovered in the great burial site of the Zapotecan kings at Mitla in Oaxaca. seem to stare portentously at the caged black bird. Any sensitive intelligent Mexican artist can find an inexhaustible source for such works in ancient manuscripts.BULLETIN OF THE ART INSTITUTE OF CHICAGO 35 ror in the orange nails which. DOROTHY ODENHEIMER FRAGMENT OF A WALL PAINTING DISCOVERED AT MITLA. like the almond-shaped shell ones of an ancient Aztec mask. and sculpture. who stands behind parted gray curtains (suggestive of a favorite Baroque formula).198. Orozco's impressive Zapata. frescoes. the emphasis being on surface pattern with prominence given to linear elements and color areas. the bared teeth. The abstract quality of our Tamayo is not inevitably dependent on the influence of painters like Braque and Picasso. looms the raspberry architecture and the intense blue sky of Mexico. The Mexican artist seeking the formal and abstract did not need to go to Europe when he had such stirring examples near at hand. Jos6 Pavon. To suggest the nature of this material. There is not much space or air in this picture-it is all kept quite flat. This content downloaded from 130. Zalce. We hope that this is just the beginning of a collection which will be a source of pride to Chicago. grow out of macabre black fingers. the intense impression of ferocity. Our Print Department has one lithograph by Orozco. without attempting to prove any necessary connection. Her orange-red lips part to bare sharp white teeth and her sightless eyes. bas-relief. 5 Aug 2013 09:24:09 AM All use subject to JSTOR Terms and Conditions . The psychological interest of the painting is concentrated on that imprisoned black and gray pulsating thing. suggesting bloody sacrifice.5 on Mon. forty-eight engravings by Leopoldo Mendez and forty-nine by Posada. In style these large wall paintings resemble the pictographs found in the manuscript codices. of 1930 and this striking work by Tamayo. The lady's long black hair is impaled on a comb of yellow-green whose round ends glisten like gold and repeat the shape of the disk on the lobe of her ear. the series of disks. Compare the breaking up of the face into various pattern areas.

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