GENERAL DESCRIPTION
By the 1960s, Rufino Tamayo had established himself as one of Mexico’s most celebrated painters and printmakers. In this chromolithograph, Tamayo abstracts the figure of a young girl standing in the opening of a door. Her veiled head and neck—otherwise obscured by darkness—take the shape of a keyhole, marrying her form to the door she stands beside. Adding to the mystery of the girl’s identity is the artist’s choice to render her in silhouette, backlit by the vibrant light of the open door. What we can decipher is limited: two circular eyes resting on a linear plane, a heavily textured blue dress, and an outstretched arm.
Tamayo’s skill in color application is evident in this lithograph. The dark, shadowed blue is juxtaposed with the intensity of the orange ground on which the child stands, resulting in a haunting yet dreamlike portrait of a girl.
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
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
Historical periods
Individuals
Subject terms
prints (visual works): AAT: 300041273
works on paper: AAT: 300189621
figures (representations): AAT: 300189808
human figures: AAT: 300404114
abstract: AAT: 300108127
abstraction: AAT: 300056508
female: AAT: 300189557
youth (life stages): AAT: 300305226
children (people by age group): AAT: 300025945
girls: AAT: 300247581
standing: AAT: 300239500
doors: AAT: 300002803
doorways (openings): AAT: 300002767
dresses (garments): AAT: 300046159
veils (headcloths): AAT: 300046128
darkness (concepts): AAT: 300056031
keyhole surrounds: AAT: 300172566
identity: AAT: 300257052
silhouettes: AAT: 300015423
backlighting: AAT: 300191393
lighting: AAT: 300051944
eyes (animal or human components): AAT: 300400484
plane figures: AAT: 300159060
planes (mathematics): AAT: 300055640
texture (artistic concept): AAT: 300400862
texture (physical attribute): AAT: 300056362
arms (animal or human components): AAT: 300310201
color (perceived attribute): AAT: 300056130
blue (color): AAT: 300129361
orange (color): AAT: 300126734
contrast: AAT: 300260079
dreams: AAT: 300251611
portrait: AAT: 300015637
bodies (human and animal components): AAT: 300404640
geometric shape: AAT: 300263819
geometric motifs: AAT: 300009764
geometric abstraction: AAT: 300056509
lines (geometric concept): AAT: 300056279
circular (shape): AAT: 300263827
triangles (polygons): AAT: 300009806
triangular (polygonal): AAT: 300263833
diamonds (motifs): AAT: 300009791
form (composition concepts): AAT: 300056272
curves (geometric figures): AAT: 300378887
linear forms: AAT: 300234452
outlines (linear form): AAT: 300124267
background: AAT: 300056369
painters (artists): AAT: 300025136
printmaking: AAT: 300131119
RELATED OBJECTS
PROVENANCE
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.
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 1963.118.FA
Category
rules_operator
AND
General Description
By the 1960s, Rufino Tamayo had established himself as one of Mexico’s most celebrated painters and printmakers. In this chromolithograph, Tamayo abstracts the figure of a young girl standing in the opening of a door. Her veiled head and neck—otherwise obscured by darkness—take the shape of a keyhole, marrying her form to the door she stands beside. Adding to the mystery of the girl’s identity is the artist’s choice to render her in silhouette, backlit by the vibrant light of the open door. What we can decipher is limited: two circular eyes resting on a linear plane, a heavily textured blue dress, and an outstretched arm.
Tamayo’s skill in color application is evident in this lithograph. The dark, shadowed blue is juxtaposed with the intensity of the orange ground on which the child stands, resulting in a haunting yet dreamlike portrait of a girl.
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
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
Historical periods
Individuals
Subject terms
prints (visual works): AAT: 300041273
works on paper: AAT: 300189621
figures (representations): AAT: 300189808
human figures: AAT: 300404114
abstract: AAT: 300108127
abstraction: AAT: 300056508
female: AAT: 300189557
youth (life stages): AAT: 300305226
children (people by age group): AAT: 300025945
girls: AAT: 300247581
standing: AAT: 300239500
doors: AAT: 300002803
doorways (openings): AAT: 300002767
dresses (garments): AAT: 300046159
veils (headcloths): AAT: 300046128
darkness (concepts): AAT: 300056031
keyhole surrounds: AAT: 300172566
identity: AAT: 300257052
silhouettes: AAT: 300015423
backlighting: AAT: 300191393
lighting: AAT: 300051944
eyes (animal or human components): AAT: 300400484
plane figures: AAT: 300159060
planes (mathematics): AAT: 300055640
texture (artistic concept): AAT: 300400862
texture (physical attribute): AAT: 300056362
arms (animal or human components): AAT: 300310201
color (perceived attribute): AAT: 300056130
blue (color): AAT: 300129361
orange (color): AAT: 300126734
contrast: AAT: 300260079
dreams: AAT: 300251611
portrait: AAT: 300015637
bodies (human and animal components): AAT: 300404640
geometric shape: AAT: 300263819
geometric motifs: AAT: 300009764
geometric abstraction: AAT: 300056509
lines (geometric concept): AAT: 300056279
circular (shape): AAT: 300263827
triangles (polygons): AAT: 300009806
triangular (polygonal): AAT: 300263833
diamonds (motifs): AAT: 300009791
form (composition concepts): AAT: 300056272
curves (geometric figures): AAT: 300378887
linear forms: AAT: 300234452
outlines (linear form): AAT: 300124267
background: AAT: 300056369
painters (artists): AAT: 300025136
printmaking: AAT: 300131119
RELATED OBJECTS
PROVENANCE
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.
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
1963.118.FA
source file
object_notes_3_c-0313.xml.nores