GENERAL DESCRIPTION
Following models painted by members of the international avant-garde, Rufino Tamayo treats his female nudes in neither a picturesque nor blatantly erotic manner. In this painting of three young women, the artist uses strong linear definition, juxtaposed with dramatic shifts in color blocking, in order to capture the movement and musculature of women jumping rope. Here and elsewhere, Tamayo deviates from mainstream Mexican modernism by challenging folkloric traditions. The artist fulfills his objective of universality by obscuring the faces and identities of his subjects. What is clearly displayed, however, is the energy and exuberance of these bodies in motion.
Excerpt from
Erin Piñon, Tower Gallery: Latin American Art, Label text, 2017.
NOTES
Tower Gallery: Latin American Art, 2017.
Catalogue essays
Artist/designers
Tamayo_Rufino: ULAN: 500024331
Cultures
Geography
Mexico (nation): TGN: 7005560
Oaxaca (state/Mexico): TGN: 7005591
Mexico City (Mexico): TGN: 7007227
Process/materials
oil paint: AAT: 300015050
canvas: AAT: 300014078
Historical periods
Individuals
Subject terms
painting (visual works): AAT: 300033618
abstract: AAT: 300108127
abstraction: AAT: 300056508
figures (representations): AAT: 300189808
human figures: AAT: 300404114
female: AAT: 300189557
women (female humans): AAT: 300025943
standing: AAT: 300239500
bodies (human and animal components): AAT: 300404640
models (people): AAT: 300025848
avant-garde: AAT: 300055775
nude: AAT: 300189568
nudity (culture-related concepts): AAT: 300262617
picturesque (the Picturesque / concepts): AAT: 300055829
eroticism: AAT: 300249821
youth (life stages): AAT: 300305226
linear forms: AAT: 300234452
color (perceived attribute): AAT: 300056130
color (pigment): AAT: 300264870
movements (clockworks): AAT: 300203656
rope: AAT: 300014248
jump ropes (equipment): AAT: 300218250
jumping (activities): AAT: 300417330
modernist (European style): AAT: 300021474
folklore: AAT: 300055920
faces (animal or human components): AAT: 300251798
identity: AAT: 300257052
motion (dynamics/mechanics concepts): AAT: 300055907
energy (concepts): AAT: 300056007
RELATED OBJECTS
PROVENANCE
Until 1959: Mr. and Mrs. Thomas W. Blake, Jr., Dallas [1], [2]
1959-1963: Dallas Museum for Contemporary Arts, gift of Mr. and Mrs. Thomas W. Blake, Jr. [1], [2], [3]
From 1963: Dallas Museum of Fine Arts, Foundation for the Arts Collection, gift of Elizabeth B. Blake, transferred from the above, May 30, 1963 [1], [2], [4], [5], [6]
[1] The main source for this provenance was existing information in TMS (in Dallas Museum of Art Digital Collections Records Object Files). Exceptions and other supporting documents are noted.
[2] The main source for this provenance is Acquisition Record (n.d., copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[3] Acquired by the Dallas Museum for Contemporary Arts, December 21, 1959.
[4] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
[5] The Foundation for the Arts is a non-profit corporation created as a title-holding entity to serve the people of Dallas but to operate independently of the City. The Dallas Museum of Art (at its own cost) is responsible for the care, storage, insurance, conservation and maintenance of the collection, and agrees to maintain the highest museum standards in the management and handling of the Foundation’s collection. The title to all works of art purchased or otherwise acquired by the Foundation for the Arts is retained by the Foundation.
[6] Pursuant to the April 19, 1963 Agreement of Merger between the Dallas Association and the Dallas Museum for Contemporary Arts (DMCA), the collection of the Dallas Museum for Contemporary Arts was transferred to the Foundation for the Arts.
AUDIO ASSETS
280539964: UMO
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 1963.89.FA
Category
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AND
General Description
Following models painted by members of the international avant-garde, Rufino Tamayo treats his female nudes in neither a picturesque nor blatantly erotic manner. In this painting of three young women, the artist uses strong linear definition, juxtaposed with dramatic shifts in color blocking, in order to capture the movement and musculature of women jumping rope. Here and elsewhere, Tamayo deviates from mainstream Mexican modernism by challenging folkloric traditions. The artist fulfills his objective of universality by obscuring the faces and identities of his subjects. What is clearly displayed, however, is the energy and exuberance of these bodies in motion.
Excerpt from
Erin Piñon, Tower Gallery: Latin American Art, Label text, 2017.
Fun Facts
Archival Resources
Web Resources
Notes
Tower Gallery: Latin American Art, 2017.
Catalogue essays
Artist/designers
Tamayo_Rufino: ULAN: 500024331
Cultures
Geography
Mexico (nation): TGN: 7005560
Oaxaca (state/Mexico): TGN: 7005591
Mexico City (Mexico): TGN: 7007227
Process/materials
oil paint: AAT: 300015050
canvas: AAT: 300014078
Historical periods
Individuals
Subject terms
painting (visual works): AAT: 300033618
abstract: AAT: 300108127
abstraction: AAT: 300056508
figures (representations): AAT: 300189808
human figures: AAT: 300404114
female: AAT: 300189557
women (female humans): AAT: 300025943
standing: AAT: 300239500
bodies (human and animal components): AAT: 300404640
models (people): AAT: 300025848
avant-garde: AAT: 300055775
nude: AAT: 300189568
nudity (culture-related concepts): AAT: 300262617
picturesque (the Picturesque / concepts): AAT: 300055829
eroticism: AAT: 300249821
youth (life stages): AAT: 300305226
linear forms: AAT: 300234452
color (perceived attribute): AAT: 300056130
color (pigment): AAT: 300264870
movements (clockworks): AAT: 300203656
rope: AAT: 300014248
jump ropes (equipment): AAT: 300218250
jumping (activities): AAT: 300417330
modernist (European style): AAT: 300021474
folklore: AAT: 300055920
faces (animal or human components): AAT: 300251798
identity: AAT: 300257052
motion (dynamics/mechanics concepts): AAT: 300055907
energy (concepts): AAT: 300056007
RELATED OBJECTS
PROVENANCE
Until 1959: Mr. and Mrs. Thomas W. Blake, Jr., Dallas [1], [2]
1959-1963: Dallas Museum for Contemporary Arts, gift of Mr. and Mrs. Thomas W. Blake, Jr. [1], [2], [3]
From 1963: Dallas Museum of Fine Arts, Foundation for the Arts Collection, gift of Elizabeth B. Blake, transferred from the above, May 30, 1963 [1], [2], [4], [5], [6]
[1] The main source for this provenance was existing information in TMS (in Dallas Museum of Art Digital Collections Records Object Files). Exceptions and other supporting documents are noted.
[2] The main source for this provenance is Acquisition Record (n.d., copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[3] Acquired by the Dallas Museum for Contemporary Arts, December 21, 1959.
[4] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
[5] The Foundation for the Arts is a non-profit corporation created as a title-holding entity to serve the people of Dallas but to operate independently of the City. The Dallas Museum of Art (at its own cost) is responsible for the care, storage, insurance, conservation and maintenance of the collection, and agrees to maintain the highest museum standards in the management and handling of the Foundation’s collection. The title to all works of art purchased or otherwise acquired by the Foundation for the Arts is retained by the Foundation.
[6] Pursuant to the April 19, 1963 Agreement of Merger between the Dallas Association and the Dallas Museum for Contemporary Arts (DMCA), the collection of the Dallas Museum for Contemporary Arts was transferred to the Foundation for the Arts.
AUDIO ASSETS
280539964: UMO
VIDEO ASSETS
rules
Apply To
Objects
number
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1963.89.FA
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