1963.117.FA Rufino Tamayo, Man in Black, 1960

In this work—one of Rufino Tamayo’s larger lithographs—an abstracted figure stands at the center of a speckled orange background. Tamayo’s title indicates that the figure is a man; however, his facial features and limbs are difficult to decipher due to the dark, heavy application of ink to his form. Sparse, feathered lines outline the geometric and cage-like contours of his body, a treatment that diminishes human characteristics. The geometric anatomy and rigid stature of the ominous figure suggest a nonhuman subject, while the subtle and ambiguous details equate him with the common man.

Erin Piñon, Tower Gallery: Latin American Art, Label text, 2017.

Tamayo_Rufino: ULAN: 500024331

Mexico (nation): TGN: 7005560

Oaxaca (state/Mexico): TGN: 7005591

Mexico City (Mexico): TGN: 7007227

color lithographs: AAT: 300041383

lithographs (planographic prints): AAT: 300041379

lithography: AAT: 300053271

chromolithographs: AAT: 300041384

chromolithography: AAT: 300053272

Mixografia (R) (embossed prints): AAT: 300265654

embossing (technique): AAT: 300053826

prints (visual works): AAT: 300041273

works on paper: AAT: 300189621

figures (representations): AAT: 300189808

human figures: AAT: 300404114

abstract: AAT: 300108127

abstraction: AAT: 300056508

male: AAT: 300189559

men (male humans): AAT: 300025928

standing: AAT: 300239500

bodies (human and animal components): AAT: 300404640

geometric shape: AAT: 300263819

geometric motifs: AAT: 300009764

geometric abstraction: AAT: 300056509

lines (artistic concept): AAT: 300400858

lines (geometric concept): AAT: 300056279

circular (shape): AAT: 300263827

form (composition concepts): AAT: 300056272

curves (geometric figures): AAT: 300378887

curvilinear (shape): AAT: 300154222

linear forms: AAT: 300234452

black (color): AAT: 300130920

orange (color): AAT: 300126734

background: AAT: 300056369

ink: AAT: 300015012

outlines (linear form): AAT: 300124267

cages (rooms): AAT: 300127475

contour: AAT: 300056263

anatomy (biological science): AAT: 300054465

anthropomorphic: AAT: 300010335

humans (homo sapiens species): AAT: 300265711

human (culture): AAT: 300393250

Until 1961: Marvin Small, Fort Lee, New Jersey [1], [2], [3], [4], [5]

1961-1963: Dallas Museum for Contemporary Arts, gift of the above [1], [2], [3], [4], [5]

From 1963: Dallas Museum of Fine Arts, Foundation for the Arts Collection, gift of Marvin Small, transferred from the above, May 30, 1963 [1], [6], [7], [8]

[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 letter from Jacob D. Weintraub, New Art Center Gallery, New York, to Douglas MacAgy, Director of the Dallas Museum for Contemporary Arts (dated November 14, 1961, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.

[3] The main source for this provenance is letter from Douglas MacAgy, Director of the Dallas Museum for Contemporary Arts, to Marvin Small (dated November 16, 1961, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.

[4] The main source for this provenance is letter from Jacob D. Weintraub, New Art Center Gallery, New York, to Douglas MacAgy, Director of the Dallas Museum for Contemporary Arts (dated November 28, 1961, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.

[5] The main source for this provenance is Deed of Gift (dated November 16, 1961), copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.

[6] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.

[7] 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.

[8] 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.