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Posts Tagged 'Rufino Tamayo'

Mexico at the DMA: A History

Published March 23, 2017 Archive , Behind-the-Scenes Closed
Tags: Carlos Merida, Dallas Museum of Art, David Alfaro Siqueiros, Diego Rivera, DMA, Gunther Gerzso, Jose Posada, Leonora Carrrington, Mexican Art, Mexican modernists, México 1900–1950: Diego Rivera Frida Kahlo José Clemente Orozco and the Avant-Garde, Roberto Montenegro, Rufino Tamayo

Last week the exhibition México 1900-1950 opened to big crowds, but it is just the most recent DMA exhibition to focus on the art and artists of Mexico. The first known exhibition to feature Mexican art was a solo exhibition in February 1933 of paintings and drawings by Roberto Montenegro. Work by Montenegro is included in the current exhibition and the DMA’s permanent collection.

Roberto (Nervo) Montenegro, Mexican Woman (Tehuana), n.d., lithograph, Dallas Museum of Art, gift of the Dallas Print Society in memory of Edwin B. Hopkins, 1941.5

Over the 114-year history of the DMA, with the Dallas Museum for Contemporary Arts (1957-1963) exhibition history included, 38 known exhibitions (including México 1900-1950) have featured Mexican art and artists, ranging from ancient and pre-Columbian to modern and contemporary. Of the 38, almost half included work by Mexican modernists who also have pieces in the current exhibition. The DMA held solo and group exhibitions for artists Carlos Merida, Roberto Montenegro, Diego Rivera, David Alfaro Siqueiros, Rufino Tamayo, Gunther Gerzso, Leonora Carrington, and Jose Posada, as well as numerous survey shows of work by Mexican modernists.

Visitors to Three Contemporary Mexican Artists: Rivera, Tamayo, and Siqueiros, October 9-November 7, 1948

One of the largest exhibitions of the work of Mexican modernists was Images of Mexico: The Contribution of Mexico to 20th Century Art, August 28-October 30, 1988.

Installation of Images of Mexico: The Contribution of Mexico to 20th Century Art, August 28-October 30, 1988

Like México 1900-1950, Images of Mexico was so large, that it needed to be installed in multiple galleries throughout the building. The main portion of the exhibition was located in the Level 2 European and American Galleries, with additional works in the Barrel Vault, Concourse, Focus I Gallery and the Print and Textile Gallery (now Focus II gallery).

Installation of Images of Mexico: The Contribution of Mexico to 20th Century Art, August 28-October 30, 1988 in the Barrel Vault

Installation of Images of Mexico: The Contribution of Mexico to 20th Century Art, August 28-October 30, 1988; Concourse

Installation of Images of Mexico: The Contribution of Mexico to 20th Century Art, August 28-October 30, 1988 in Focus Gallery I

Installation of Images of Mexico: The Contribution of Mexico to 20th Century Art, August 28-October 30, 1988 in Focus Gallery II

At least two works in México 1900-1950 are making their second visit to Dallas. Both Olga Costa’s La vendedora de frutas, 1951, and Saturnino Herrán’s Nuestros dioses, 1918, were part of Images of Mexico.

Installation of Images of Mexico: The Contribution of Mexico to 20th Century Art, August 28-October 30, 1988

Another primary feature of the México 1900-1950 exhibition is that it includes exhibition text and labels in both English and Spanish. The first DMA exhibition to include labels in English and Spanish was Maya Miniatures and Other Textiles for the Saints, November 19, 1985-January 19, 1986. The exhibition displayed Maya textiles from Guatemala.

Installation of Maya Miniatures and Other Textiles for the Saints, November 19, 1985-January 19, 1986

Hillary Bober is the Archivist at the Dallas Museum of Art.

Beyond “México 1900–1950”

Published February 21, 2017 Collections , Exhibitions Closed
Tags: Alfredo Ramos Martinez, and the Avant-Garde, Carlos Orozco Romero, Dallas Museum of Art, Diego Rivera, DMA, Frida Kahlo, Jesús Guerrero Galván, José Clemente Orozco, Manuel Alvarez Bravo, México 1900–1950: Diego Rivera, Octavio Medellín, Roberto (Nervo) Montenegro, Rufino Tamayo

The DMA is thrilled to host México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde, opening March 12. I was fortunate to be able to view this exhibition in Paris at the Grand Palais, and was captivated by the works’ color, scale, and diversity of subject matter. This exhibition is coming to Dallas already chock-full of the heavy hitters of Mexican modernism, but the DMA is taking the opportunity to highlight and include some of our own Mexican greats. Look for the following DMA-owned works in the Dallas presentation:

Roberto (Nervo) Montenegro, “The Shell,” c. 1936, oil on composition board, Dallas Museum of Art, Dallas Art Association Purchase, 1951.84

Octavio Medellín, “The Hanged One” (“El Ahorcado”), c. 1942, black walnut, Dallas Museum of Art, Kiest Memorial Purchase Prize, Fourteenth Annual Dallas Allied Arts Exhibition, 1943.9

Manuel Alvarez Bravo, “The Cross at Chalma,” 1942, gelatin silver print, Dallas Museum of Art, gift of Paul Brauchle, 1994.232, © Estate of Manuel Alvarez Bravo / Artists Rights Society (ARS), New York / ADAGP, Paris

Manuel Alvarez Bravo, “Optical Parable,” 1931, gelatin silver print, Dallas Museum of Art, gift of DMA Friends of Photography, 1993.35, © Estate of Manuel Alvarez Bravo / Artists Rights Society (ARS), New York / ADAGP, Paris

Alfredo Ramos Martinez, “Workers,” 1944–45, tempera on newsprint, Dallas Museum of Art, gift of Mr. and Mrs. William Weber Johnson, 1991.106, © Alfredo Ramos Martinez

Diego Rivera, “Peasant Woman,” 1946, watercolor, Dallas Museum of Art, Bequest of Mr. and Mrs. Benjamin Lewis, 1985.16, © Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society, New York

Rufino Tamayo, “The Blue Chair,” 1931, oil on canvas, Dallas Museum of Art, gift of Mrs. Alex Camp, 1965.24, © Estate of the artist in support of Fundacion Olga Y Rufino Tamayo, A.C.

Rufino Tamayo, “Young Women Jumping Rope” (“Jovencitas brincando la cuerda”), 1942–44, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of Elizabeth B. Blake, 1963.89.FA, © Estate of the artist in support of Fundacion Olga Y Rufino Tamayo, A.C.

Carlos Orozco Romero, “Head,” 1946, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase, 1951.107

Rufino Tamayo, “Nude,” 1931, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase, 1951.104, © Estate of the artist in support of Fundacion Olga Y Rufino Tamayo, A.C.

Jesús Guerrero Galván, “Images of Mexico” (“Imágenes de México”), 1950, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase, 1951.102

Diego Rivera, “Profile of a Woman,” c. 1930, charcoal and conte crayon on washi paper, Dallas Museum of Art, Dallas Art Association Purchase, 1951.91, © Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society, New York

Andrea Severin Goins is the Head of Interpretation at the DMA

Run the DMA Marathon

Published November 27, 2013 Collections , Dallas , DFW 1 Comment
Tags: Coffin of Horankh, Crawford Riddle, Dallas Museum of Art, Dallas PCS Marathon, DMA, Fernand Léger, Gerald Murphy, Mark Rothko, Pablo Picasso, Robert Rauschenberg, Rufino Tamayo, Tlaloc, Vincent van Gogh

It’s that time of year again, and the excitement of the Dallas PCS Marathon has arrived! Last year, the marathon races drew over 15,700 runners and 300,000 spectators. It’s expected to be bigger than ever this year, and the city of Dallas is pulling out all the stops. The Dallas Museum of Art is joining the city in welcoming runners and their friends, families, and fans alike!

As both a McDermott intern in the education department and a runner, I had the pleasure (and pain!) of gaining my Museum feet during the height of my training for the marathon. As I learned to navigate through the galleries, I discovered that the DMA has many things in common with a marathon: it’s huge, it’s inspirational, and there are lots of friendly staff members to support you along your journey. Therefore, I am thrilled to combine two of my passions–running and museums–in inviting you to embark on your very own DMA Marathon. I’ve highlighted some of my favorite artworks throughout the DMA’s galleries, hand-picked to motivate, inspire, and refuel you. So, what are you waiting for? Lace up your running shoes, and get ready to explore!

Registration: DMA Atrium
The DMA has free general admission (every day!), so you don’t need to pull out your wallet for this race. But please do hit up the Visitor Services Desk to sign up for the DMA Friends program. With your shiny new DMA Friends membership, you’ll be able to check in at various locations in the Museum and earn points toward exciting DMA rewards such as free parking, sneak peeks at new exhibitions, and exclusive Museum experiences. The Atrium is also a great place to grab a pre-race bite in the DMA Cafe, use the line-free bathrooms, and get in your stretches in front of Robert Rauschenberg’s breathtaking Skyway or Rufino Tamayo’s iconic painting El Hombre (Man).

Robert Rauschenberg, Skyway, 1964, oil and silkscreen on canvas, Dallas Museum of Art, The Roberta Coke Camp Fund, The 500, Inc., Mr. and Mrs. Mark Shepherd, Jr. and General Acquisitions Fund, (c) Rauschenberg Estate/Licensed by VAGA, New York, NY

Rufino Tamayo, El Hombre (Man), 1953, vinyl with pigment on panel, Dallas Museum of Art, Dallas Art Association commission, Neiman-Marcus Company Exposition Funds, (c) Estate of the artist in support of Fundacion Olga y Rufino Tamayo, A.C.

Resist Temptation and Find Your Pace: Level 4: Ancient American Art and American Art
The starting gun goes off and you head up the stairs to Level 4, where you will come face to face with Tlaloc, the DMA’s rain god. But no need to worry about rain inside the Museum, Tlaloc was also a war god and will send you off with blessings of stamina and power!

Head of the rain god Tlaloc, Mixtec, Late Postclassic period, c. 1300-1500, ceramic, tufa, stucco, and paint, Dallas Museum of Art, gift of Mr. and Mrs. Stanley Marcus in memory of Mary Freiberg

As you make your way by Crawford Riddle’s bedstead, deemed “The Big Bed” by our younger visitors, try not to be distracted with thoughts of putting your feet up so early in the race. You’ve worked hard to prepare for this moment, and this bed should serve as a reminder that some well-deserved relaxation awaits you at the end of this journey!

Crawford Riddell, Bed, c. 1844, Brazilian rosewood, tulip poplar, and yellow pine, Dallas Museum of Art, gift of three anonymous donors, Friends of the Decorative Arts Fund, General Acquisitions Fund, Discretionary Decorative Arts Fund, and the Boshell Family Foundation

Bedstead, Crawford Riddell, c. 1844, Brazilian rosewood, tulip poplar, and yellow pine, Dallas Museum of Art, gift of three anonymous donors, Friends of the Decorative Arts Fund, General Acquisitions Fund, Discretionary Decorative Arts Fund, and the Boshell Family Foundation

Also, I know how easy it is to let the excitement of the race throw off your timing. Gerald Murphy’s Watch is a great reminder to check your pace and adjust your gallery viewing speed if necessary.

Gerald Murphy, Watch, 1925, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the artist, (c) Estate of Honoria Murphy Donnelly

Dodge Obstacles and Find Inspiration: Level 3: Arts of Africa, Asia, and the Pacific, The Wendy and Emery Reves Collection
Head down the stairs to Level 3, where you will come face to face with sculptures, jewelry, and artifacts from Africa, Asia, and the Pacific. You may want to pick up the pace when you spot the coffin of Horankh in the Ancient Egyptian gallery. We have several Egyptian coffins (including one with an actual mummy inside!), and although they are beautiful, they are rumored to look a little too alive at times!

Coffin of Horankh, Late Period, c. 700 B.C., Thebes, Egypt, wood, gesso, paint, obsidian, calcite, and bronze, Dallas Museum of Art, the Cecil and Ida Green Acquisition Fund

Coffin of Horankh, Egypt, Thebes, Late Period, c. 700 B.C., wood, gesso, paint, obsidian, calcite, and bronze, Dallas Museum of Art, the Cecil and Ida Green Acquisition Fund

Before you leave the third floor, loop around to the Wendy and Emery Reves Collection for some inspiration. Vincent van Gogh’s Sheaves of Wheat is a breathtaking sight that should not be missed!

Vincent van Gogh, Sheaves of Wheat, July 1890, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection

Beat “The Wall”: Level 2: Ancient Mediterranean and European Art
Trot down the stairs to Level 2, where you will glide between athletic bodies featured in the Greek and Roman statues, busts, and antiquities. Pat yourself on the back; after this race, you will be able to rank yourself among these talented athletes!
At this point in the race, it is common to hit “the wall,” and you may be starting to feel like the characters in Fernand Leger’s Divers or Picasso’s Guitarist in the European galleries, but keep going–you’re almost to the end!

Fernand Léger, The Divers (Red and Black), 1942, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the James H. and Lillian Clark Foundation, (c) Artists Rights Society (ARS), New York/ADAGP, Paris

Pablo Picasso, The Guitarist, 1965, oil on canvas, Dallas Museum of Art, The Art Museum League Fund, (c) Estate of Pablo Picasso/Artists Rights Society (ARS), New York

The Light at the End of the Tunnel: Level 1: Contemporary Art
Your heart is pounding as you head into the final stretch of the marathon. Your final leg will take you back up the Museum Concourse to the finish line in the contemporary art galleries. You can hardly believe your eyes when you catch a glimpse of Mark Rothko’s Orange, Red and Red and wonder if you are seeing a mirage. But it is real, and the finish line is surrounded by gorgeous contemporary works. Take in the sights as you relish this moment–you did it!

Mark Rothko, Orange, Red and Red, 1962, oil on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, (c) 1998 Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS), New York

It’s been my pleasure to take you along on the DMA Marathon. We hope that you are able to join us during marathon weekend and experience the Museum firsthand! Best of luck to all of my fellow runners; see you at the finish line!

Amelia Wood is the McDermott intern for family & access teaching at the DMA.

Moving Day: Tamayo’s El Hombre Finds a New Home

Published July 31, 2013 Archive , Arts District , Behind-the-Scenes , Collections 2 Comments
Tags: Dallas Museum of Art, DMA, El Hombre, Mexican Art, Rufino Tamayo, Stanley Marcus

After many years at the Museum’s Ross Avenue Entrance, Rufino Tamayo’s iconic mural El Hombre (Man) is returning to the Atrium, where it was first hung when the Museum’s Hamon Building opened in 1993.

Rufino Tamayo’s El Hombre (Man) being de-installed from the Ross Avenue entrance (left) and the rehanging in the DMA Atrium (right).

Rufino Tamayo’s El Hombre (Man) being de-installed from the Ross Avenue Entrance (left) and the rehanging in the Atrium (right).

Tamayo, born of Zapotec heritage in Oaxaca, Mexico, was one of the most prominent Mexican artists of the mid-1900s, and a contemporary of Rivera, Siqueiros, and Orozco. His mural has long been viewed as one of the DMA’s most important works. The tumultuous story behind it, however, inspires further appreciation.

Rufino Tamayo at the Dallas Museum of Fine Arts, 1950s. Dallas Museum of Art Archives

Rufino Tamayo was a good friend of Stanley Marcus, then the president of the Dallas Art Association. In 1951, while on a trip to Amarillo, Tamayo and his wife, Olga, planned to drive to Dallas to visit the Marcus family, letting them know that they would arrive at 5:30 that evening. At 10:30 that night the Tamayos finally arrived, looking disheveled and disillusioned. When Marcus asked them about the delay, Tamayo told him about a car accident they were involved in, in which a local from Amarillo driving a pickup truck ran into them from behind. When the police arrived, it was determined that Tamayo was at fault for the accident, despite his claims and that the evidence suggested otherwise. Because of this unsettling experience, Tamayo told Marcus he would never produce art for the United States. By coincidence, Marcus had for some time wanted to secure Mexican art for the Museum to showcase the significant cultural contributions of the country’s artists, and he offered to commission a large-scale mural from Tamayo. Despite the Museum having only enough funds to pay one-third the normal price of his work, Tamayo accepted the commission as “a real gift of the heart from Mr. Tamayo to the museum.” He chose to focus his subject on the aspirations and potential of mankind.

Rufino Tamayo at work, 1950s. Dallas Museum of Art Archives

When Tamayo completed El Hombre in the summer of 1952, he briefly showed it in Mexico City before shipping it by train to Dallas. Months later, however, the painting still had not arrived at the Museum. The search for the missing mural went on for over a year, when finally the stationmaster from a train station on the Mexico-Texas border called Marcus to inform him that they had found a large package addressed to him. The boxcar that the package had been traveling in had been shunted off the track on a spur, and had been sitting out in the elements all year*. Fortunately, when the mural finally arrived in Dallas in September 1953, it was found to be in surprisingly good condition, and El Hombre was put in a place of honor so that every visitor to the Museum would see Tamayo’s depiction of Mexican culture.

El Hombre (Man), comprised of three panels, in transit to its new home.

El Hombre (Man), which comprises three panels, in transit to its new home.

DMA staff vacuuming the Atrium wall in preparation for Tamayo’s painting.

This week, on its journey down the Concourse to the Atrium, Tamayo’s El Hombre traveled much more safely this time around. Be sure to stop by the Atrium on your next visit to see this iconic work for free.

El Hombre (Man) in the DMA Atrium

* [update August 2017] The source of this story is an oral history with Stanley Marcus, interviewed by Director Jay Gates October 27, 1994. However, documentation of the arrival of El Hombre at the Museum shows that the painting was only delayed by three and a half weeks, likely by flooding in areas along the railway. El Hombre was shown in Mexico City in August 1953, shipped from Mexico on August 17, 1953 and arrived in Dallas on September 9, 1953.

Jasmine Shevell is the Exhibitions & Publications Intern at the DMA.

Peace and Equality

Published January 21, 2013 Collections , Dallas , DFW , Education Closed
Tags: Dallas Museum of Art, Edward Hicks, Glenn Ligon, I have a dream, Martin Luther King Jr., Peace and equality, Pierre Nicolas Legrand, Rufino Tamayo

Civil rights leader Martin Luther King, Jr. was a champion of peaceful ways and equality for all people. This year marks the 50th anniversary of his I Have a Dream speech, delivered in Washington, D.C., in August 1963. Pick up a Peace and Equality self-guide tour (featuring the works shown below) today at the DMA during the launch of the DMA Friends & Partners program and our return to free general admission, and visit works of art in the DMA’s collection that resonate with the spirit of peace, hope, compassion, faith, and determination prevalent throughout Dr. King’s actions and teachings.

Edward Hicks, The Peaceable Kingdom, c. 1846-1847, oil on canvas, Dallas Museum of Art, The Art Museum League Fund

Jina, 12th century, black stone, Dallas Museum of Art, gift of the Junior Associates

Jina, India, Western Rajasthan, 12th century, black stone, Dallas Museum of Art, gift of the Junior Associates

Rufino Tamayo, El Hombre (Man), 1953, vinyl with pigment on panel, Dallas Museum of Art, Commissioned by the Dallas Art Association through Neiman-Marcus Exposition Funds, (c) 2013 Estate of the artist in support of Fundacion Olga y Rufino Tamayo, A.C.

Glenn Ligon, Untitled, 2002, coal dust, printing ink, oil stick, glue, acrylic paint, and gesso on canvas, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund

Nicole Stutzman Forbes is the Chair of Learning Initiatives and Dallas Museum of Art League Director of Education.

Reading the Cards: Part 4

Published January 3, 2013 works of art 3 Comments
Tags: Apollo, Benjamin West, cards, connections, daguerreotype camera, Magician, Moon, Rufino Tamayo, Star, Strength, Sun, Tarot, Venus, William Penn

This post is the fourth in a larger series finding connections between the ever-mystical tarot cards and the extraordinary collection of the Dallas Museum of Art. Head over to the first, second, and third posts for an introduction and earlier connections.

The Magician is the first trump card in a tarot deck. Shown as a youthful figure, the Magician is often thought to represent Apollo, the Greek sun god. This association speaks to bringing light to the darkness and addressing avoided issues.

Benjamin West, Apollo’s Enchantment, 1807, Dallas Museum of Art, gift of Mrs. Robert A. Beyers

Surrounded by the pantheon of Greek gods and muses, Benjamin West’s Apollo is bathed in the light of the sun. Apollo enchants his audience with his skill at the lyre, as he is the god of music as well as the sun.

The Moon is the eighteenth major arcana card. With the face of the subconscious mind gazing calmly upon the scene, the Moon depicts a dog, wolf, and water creature of sorts (in this case a lobster). The card often represents sleep patterns, dreams, and nightmares- with the animals shown symbolizing the fears of man.

Rufino Tamayo, El Hombre (Man), 1953, Dallas Museum of Art, Dallas Art Association commission, Neiman-Marcus Company Exposition Funds

Surrounding the theme of “man excelling himself,” Rufino Tamayo created the mural El Hombre as a commision for the Dallas Art Association. Tamayo’s painted figure points into the starry sky in search of our place in the cosmos. The dog in the lower-left corner blends into the dark ground as it gnaws on a bone- representing man’s baser instincts.

The Star is the seventeenth trump card. Contributing liquid to both the pool of subconsciousness and the material world, a naked woman kneels directly beneath an exaggerated star. In a tarot spread, the Star represents renewed hope, inspiration, and discovery.

Simon Starling, Venus Mirror (8/6/08, Copenhagen), 2011, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund

Simon Starling’s mirror alludes to the original documentation of the planet Venus’ path accross the sky by Pierre César Jules Janssen. Undertaken in 1974, the French astronomer developed a special daguerreotype camera to document Venus’ movement. The telescope-camera hybrid recorded the multiple exposures on a single circular daguerreotype plate.

Strength is numbered as eleven or eight depending on the deck. Historically titled Fortitude, the design has consistenly portrayed a lion submitting to the gentle touch of a woman. When selected for a tarot reading, the card implies one’s control of the primal qualities of man.

Edward Hicks, The Peaceable Kingdom, 1846-1847, Dallas Museum of Art, The Art Museum League Fund

Based on Christian scripture, Edward Hicks created a scene of spiritual and earthly harmony amongst men and animals. At the left side of the painting, William Penn signs a peace treaty with the Native American peoples of the Delaware Valley- a historic model for peaceful coexistence.

The Sun is the nineteenth of the major arcana cards. Riding beneath the anthropomorphized sun, a small child sits astride a white horse- both symbols of innocence and purity. With the red flag representing renewal, this card points to personal power, optimism, and enlightenment.

Constantin Brancusi, Beginning of the World, c.1920, Dallas Museum of Art, Foundation for the Arts Collection, gift of Mr. and Mrs. James H. Clark

Provocative in nature, the sculpture’s title, Beginning of the World, is full of potential associations. When paired with the simple geometric and natural shapes, the title hints to new beginnings, concepts, and discoveries.

My next and final Reading the Cards post will look at Temperance, the Tower, the Wheel of Fortune, and the World.

Pilar Wong

McDermott Intern for Community Teaching

Red, White, and Blue

Published July 4, 2012 American Art , Collections , Contemporary Art , Decorative Art and Design , European Art , Modern Art , Uncategorized 1 Comment
Tags: Anne Vallayer-Coster, Childe Hassam, Dallas Museum of Art, Fourth of July, James Brooks, Jean Antoine Theodore Giroust, Piet Mondrian, Rufino Tamayo, Wassily Kandinsky, Yves Tanguy

Some visitors to the DMA may have taken our self-guided tour Seeing Red, and loyal readers of our blog may remember a post we did back in December about works in our collection that are white. So while we have not focused on the color blue yet, we thought this would be a good day to share with you a few works in our collection that feature red, white, and blue.

Striped chevron bead, Drawn glass, Dallas Museum of Art, gift of The Dozier Foundation

Childe Hassam, Flags, Fifth Avenue, 1918, Watercolor, Dallas Museum of Art, Munger Fund, in memory of Mrs. George Aldredge

Anne Vallayer-Coster, Bouquet of Flowers in a Blue Porcelain Vase, 1776, Oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund and gift of Michael L. Rosenberg

Rufino Tamayo, El Hombre (Man), 1953, Vinyl with pigment on panel, Dallas Museum of Art, Dallas Art Association commission, Neiman-Marcus Company Exposition Funds [credit line published in 1997 DMA Guide to the Collections: Dallas Museum of Art, commissioned by the Dallas Art Association through Neiman-Marcus Exposition Funds]

Piet Mondrian, Composition with Large Blue Plane, Red, Black, Yellow, and Gray, 1921, Oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of Mrs. James H. Clark

Yves Tanguy, Apparitions, 1927, Oil on canvas, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., in honor of Nancy O’Boyle

Jean Antoine Theodore Giroust, Oedipus at Colonus, 1788, Oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund

James Brooks, Quand, 1969, oil on canvas, Dallas Museum of Art, gift of the Meadows Foundation Incorporated

Wassily Kandinsky, Boating (from Sounds), 1907-1911, 1913, Volume with thirty-eight prose poems and twelve color and forty-four black-and-white woodcuts, Dallas Museum of Art, Centennial gift of Natalie H. (Schatzie) and George T. Lee

Stacey Lizotte is the Head of Adult Programming and Multimedia Services.

Friday Photos: Provocative Comparisons Part Three

Published August 5, 2011 Friday Photos 1 Comment
Tags: 9x9, Art, Dallas Museum of Art, Ecce Homo, El Hombre, painting, Procaccini, program, Provocative Comparisons, Rufino Tamayo, works of art

Ecce Homo, c. 1615-1620, Giulio Cesare Procaccini (Italian, 1574-1625), Oil on canvas, Dallas Museum of Art, Gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated

El Hombre, 1953, Rufino Tamayo (Mexican, 1899-1991), Vinyl with pigment on panel, Dallas Museum of Art, Dallas Art Association commission, Neiman-Marcus Company Exposition Funds

This is the final post in our photo series focused on Provocative Comparisons. My experiences looking at these two paintings with out-of-town visitors led to powerful conversations about scale, the male figure, religion and beliefs, color, composition, and aspirations. We wondered about the impact of these works on those who experienced them originally, shortly after their initial creation, and compared our thoughts on this to our own reactions as 21st century viewers. I invite you to take a long look at Rufino Tamayo’s El Hombre and Procaccini’s Ecce Homo. What do you see? What do you think about? What relationships between the two, if any, resonate with you?

Nicole Stutzman
Director of Teaching Programs and Partnerships

Celebrating Mexico's Bicentennial

Published September 16, 2010 works of art Closed
Tags: Diego Rivera, Mexican Art, posada, Rufino Tamayo

José Guadalupe Posada, La calavera catrina, 1889-95, woodcut, anonymous loan

The Dallas Museum of Art is celebrating the bicentennial of Mexico’s independence with a special project called Mexico 200. This project includes a bilingual brochure that highlights works of Mexican art throughout the collection, including Maya, Spanish Colonial, and modern Mexican artworks.

Additionally, two special exhibitions of works on paper are on view this fall. Jose Guadalupe Posada: The Birth of Mexican Modernism showcases prints by this prolific artist who is considered the most influential Mexican artist of the early 20th century. Tierra y Gente: Modern Mexican Works on Paper is installed in the Concourse and features works of art by Diego Rivera, Rufino Tamayo, and other 20th-century Mexican artists.

Check out our Online Teaching Materials to learn more about Mexico 200, or participate in the Late Night on Friday, September 17. The theme is Mexico 200, and teachers get in free with their educator ID! Share the arts of Mexico with your students by scheduling a Museum Visit or Go van Gogh Outreach Program.

Molly Kysar
Head of Teaching Programs

Dallas Museum of Art Uncrated

Posts Tagged 'Rufino Tamayo'

Mexico at the DMA: A History

Beyond “México 1900–1950”

Run the DMA Marathon

Moving Day: Tamayo’s El Hombre Finds a New Home

Peace and Equality

Reading the Cards: Part 4

Red, White, and Blue

Friday Photos: Provocative Comparisons Part Three

Celebrating Mexico's Bicentennial

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