Sotheby's /Nov 20, 2013
€14,885.38 - €18,606.73
Artworks in Arcadja46
Some works of Maria IzquierdoExtracted between 46 works in the catalog of Arcadja
Auction: Sotheby's -Nov 24, 2014 - New-yorkLot number: 9
Other WORKS AT AUCTION
Maria Izquierdo (1902 - 1955) SUEÑO Y PRESENTIMIENTO signed and dated 1947 lower left oil on canvas 17 3/4 by 23 5/8 in. 45 by 60 cm Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Aurora Posadas Izquierdo Collection, Mexico City Belén Valdéz Gutiérrez Collection, Mexico City Silvia Posadas Valdéz Collection, Mexico City Andrés Blaisten Collection, Mexico City Maria Esthela de Santos Collection, Monterrey Sale: Sotheby's, New York, Surrealist Art from Latin America, November 23, 1999, lot 13, illustrated in color Exhibited Mexico City, Galería de Arte Moderno, Exposición Homenaje a María Izquierdo, 1907-1955, 1956 Mexico City, Museo de Arte Moderno, Instituto Nacional de Bellas Artes, María Izquierdo y su obra, October, 1971, no. 24 Mexico City, Museo del Palacio de Bellas Artes, Instituto Nacional de Bellas Artes, Exposición Homenaje a María Izquierdo, March 7-April 15, 1979 Mexico City, Museo Nacional de Arte, Instituto Nacional de Bellas Artes, Los surrealistas en México, 1986, no. 107, p. 113, illustrated Mexico City, Centro Cultural / Arte Contemporáneo, María Izquierdo, 1988, no. 140, p. 48; also p. 358, illustrated in color Las Palmas, Centro Atlántico de Arte Moderno, December 1989-January 1990; Madrid, Fundación Cultural Mapfre Vida, El surrealismo en el viejo y nuevo mundo, p. 180, illustrated in color Monterrey, Museo de Monterrey, La mujer en México, 1990 Monterrey, Museo de Arte Contemporáneo de Monterrey, María Izquierdo, October-November, 1991 Paris, Centre Georges Pompidou, Art d'Amérique Latine 1911-1968, November 12, 1992-January 11, 1993, no. 10 New York, Museum of Modern Art, Latin American Artists of the Twentieth Century, June 6-September 7, 1993, no. 6, p. 120, illustrated Chicago, The Mexican Fine Arts Center Museum, June 14-September 8, 1996; Mexico City, Museo de Arte Moderno, October 31-January 26, 1997, María Izquierdo, 1902-1955, p. 108, illustrated in color New York, Americas Society Art Gallery, May 6-July 27, 1997; Santa Barbara, Santa Barbara Museum of Art, September 27-December 28, 1997; Corpus Christi, Art Museum of South Texas, January 13-March 8, 1998, The True Poetry: The Art of María Izquierdo, no. 63, illustrated in color Literature Ali Rajev, "María Izquierdo y el subconciente," Alma Médica, Mexico City, 1949, p. 16 Raquel Tibol, “María Izquierdo y su dispuesta realidad” , María Izquierdo y su obra, México, 1971, discussed Carlos Monsiváis, “María Izquierdo: la idolatría de lo visible” , María Izquierdo. México, 1986, p. 6, illustrated in color Oliver Debroise, “María Izquierdo”, María Izquierdo. México, 1988, discussed Luis-Martín Lozano, “María Izquierdo. Sobre la moderna pintura mexicana”, María Izquierdo, 1902-1955. Chicago, 1996, discussed Raquel Tibol, “Appunti su María Izquierdo”, Lapis. Percorsi Della riflessione femminile. Milano, no 29, March 1996, p. 58, illustrated Elizabeth Ferrer, “A Single Path. The Artistic Development of María Izquierdo”, The True Poetry. The Art of María Izquierdo, New York, 1997, discussed Dawn Ades, “Surrealism and the reperesentation of the female subject in Mexico and postwar Paris”, Cambridge, 1998. p. 121, illustrated Lynn Gamwell, Dreams 1900-2000. Science, Art and the Unconscious Mind. New York, 2000, p. 243, illustrated Luis-Martín Lozano, “De la vanguardia a la posguerra: dos décadas de pintura mexicana”, Siglo XX. Grandes maestros mexicanos, México, 2002, discussed Luis-Martín Lozano, María Izquierdo. Una verdadera pasión por el color. México, 2002, p. 287, illustrated in color Raquel Tibol, “Factores surrealistas en la obra de María Izquierdo y Frida Kahlo”, Women Surrealists in Mexico, 2002, discussed Rita Eder, et. al., “The Ancestral and the Living”, In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States, (exhibition catalogue) Prestel, 2012, discussed
Auction: Sotheby's -May 28, 2014 - New-yorkLot number: 141
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Private Collection, California Thence by descent to the present owner María Izquierdo (1902-1955) SIN TÍTULO (ESCENA DRAMÁTICA) signed and dated 38 upper right watercolor on paper affixed to cardboard 8 1/2 by 11 in. 21.6 by 28 cm This work is in very good condition overall. The colors are vibrant and the medium is stable. Artist pinholes are present in all four corners of the papers.
Auction: Christie's -May 28, 2014 - New-yorkLot number: 112
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María Izquierdo (1902-1955) Mujer ante el espejo signed and dated 'M Izquierdo, 34' (lower right) gouache on paper 8 1/8 x 10¾ in. (20.6 x 27.3 cm.) Executed in 1934. Leopoldo Villareal collection. Acquired from the above. Mary-Anne Martin/Fine Art, New York. Acquired from the above. PROPERTY FROM THE AARON FAMILY COLLECTION, SAN ANTONIO Exhibition catalogue, The True Poetry: The Art of María Izquierdo, New York, Americas Society, 1997, no. 12 (illustrated in color). L-M. Lozano, María Izquierdo: Una verdadera pasión por el color, Mexico City, Consejo Nacional para la Cultura y Artes, Instituto Nacional de Bellas Artes, 2002, p. 87 (illustrated in color). Exhibition catalogue, Tamayo: A Modern Icon Reinterpreted, Santa Barbara, Santa Barbara Museum of Art in association with Editorial Turner de México, SA de CV, 2006, p. 216, fig. 110 (illustrated in color). A. Zavala, Un arte nuevo: El aporte de María Izquierdo, Monterrey, Universidad Nacional Autónoma de México, 2008, p. 25, fig. 8 (illustrated in color). New York, Americas Society Art Gallery, The True Poetry: The Art of María Izquierdo, 6 May- 27 July 1997, no. 12. This exhibition also travelled to Santa Barbara, Santa Barbara Museum of Art, 27 September- 28 December 1997; Corpus Christi, Art Museum of South Texas, 13 January- 8 March 1998. Santa Barbara, Santa Barbara Museum of Art, Tamayo: A Modern Icon Reinterpreted, 17 February- 27 May 2007, pl. 30. This exhibition also travelled to Miami, Miami Art Museum, 22 June- 16 September 2007; Mexico City, Museo Tamayo Arte Contemporáneo, 26 October 2007- 21 January 2008. New York, El Museo del Barrio, Nexus New York: Latin/American Artists in the Modern Metropolis, 17 October 2009- 28 February 2010. San Antonio, Museo Alameda Smithsonian, Revolution and Renaissance: Mexico and San Antonio, 1910-2019, November 2010- August 2012.
Auction: Sotheby's -Nov 20, 2013 - New-yorkLot number: 74
Other WORKS AT AUCTION
Provenance Aurora Posadas Izquierdo, Mexico City Andrés Blaisten, Mexico City Private Collection, Mexico City Sale: Christie's, New York, Important Latin American Paintings, Drawings and Sculpture, May 17, 1995, lot 219, illustrated in color Exhibited Mexico City, Galería de Arte Moderno, María Izquierdo, Exposición Homenaje, August 1956 Mexico City, Instituto Francés de América Latina, Homenaje a María Izquierdo con motivo del IV Aniversario de su muerte, 1960 Guadalajara, Cada de la Cultura, Pintura Mexicana Actual, 1961 Oslo; Bergen; Warsaw; Stockholm; Rome; Ganta; Menton, 1965-1966, Exposición colectiva. Pintura, grabado y dibujos Mexicanos contemporáneos Mexico City, Museo de Arte Moderno, Homenaje a María Izquierdo, 1971 Mexico City, Instituto Mexicana Norteamericano de Relaciones Culturales, Veinte mujeres notables en la vida de México, 1974 León Guanajuato, Exposición Homenaje a María Izquierdo, 1978 Mexico City, Palacio de Bellas Artes, Homenaje a María Izquierdo, March 7-April 15, 1979 San Juan de Los Lagos, Exposición Homenaje a María Izquierdo, February 17-19, 1984 Mexico City, Centro Cultural de Arte Contemporáneo, María Izquierdo, November 1988-February 1989, no.108-9, pp.234-5, illustrated in color Monterrey, Centro Cultural Plaza Fatima, María Izquierdo, August-November 1989 Monterrey, Museo de Arte Contemporáneo, María Izquierdo, October-November 1991 74 María Izquierdo (1902-1955) LA MÚSICA (TWO STUDIES FOR THE MURAL LA MÚSICA) watercolor, gouache and graphite on paper; graphite on paper 8 by 5 1/2 in.; 10 by 8 1/4 in. 20.3 by 14 cm; 25.4 by 21 cm Executed in 1945. (graphite on paper) Estimate 20,000 - 25,000 USD Print Both works are in very good condition overall. The paper is taped to the mat by the reverse of each corner of the paper. The media layer is stable overall and the colors are vibrant. There is a repair tear to the lower right corners. (Watercolor, gouache and graphite on paper) The paper is hinged to the mat by the top two corners. There is a one-quarter-inch loss to the lower right corner. A circular brown stain, not inherent to the work, measuring one-half-inch in diameter is present in the upper right quadrant. A half-inch repair horizontal repair tear extends from the center of the left edge. (Graphite on paper)
Auction: Christie's -May 29, 2013 - New-yorkLot number: 44
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Lot Description María Izquierdo (Mexican 1902-1955) Rebozo rojo (possible portrait of Sra. María Luisa Vargas de Domínguez) signed and dated 'Ma. Izquierdo 1944' (upper left) oil on canvas 48 7/16 x 31 3/8 in. (123 x 79.7 cm.) Painted in 1944. Provenance Oscar Domínguez collection, Mexico. Victor Sarquis y Cond. collection, Mexico. Private collection, Mexico City. Pre-Lot Text Property from a Distinguished Collection Literature M. Michelena, et.al., María Izquierdo. Monografía, Guadalajara Departamento de Bellas Artes, Gobierno del Estado de Jalisco, 1985, p. 147 (illustrated in color). L.M. Schneider, comp., María Izquierdo, Mexico City, Casa de Bolsa CREMI, 1986, p. 124 (illustrated in color). Exhibition catalogue, María Izquierdo, Mexico City, Centro Cultural de Arte Contemporáneo, 1988, p. 340, cat. 91 (illustrated). L-M. Lozano, María Izquierdo: una verdadera pasión por el color, Mexico City, Consejo Nacional para la Cultura y Artes, Instituto Nacional de Bellas Artes, 2002, p. 219 (illustrated in color). View Lot Notes > We are grateful to Professor Luis-Martín Lozano for his assistance in cataloguing this work. Accomplished Mexican modernist María Izquierdo was essentially self-taught having withdrawn from the Escuela Nacional de Bellas Artes in Mexico City after attending for only one year, 1928-9. Her limited formal instruction in drawing was never a deterrent--her often-awkward treatment of anatomy and perspective seeming to enhance the character and appeal of her art. Anti-academic and well-versed in the work of her European contemporaries, she found companionship with members of the intellectual vanguard Los contemporáneos, which included her partner Rufino Tamayo and her friend Juan Soriano; like them, she distanced herself from the narrative, political, and nationalist focus of the dominant Mexican mural movement. Izquierdo was committed to expressing a personal vision in her art. She combined her knowledge of the European vanguard (Giorgio De Chirico and Paul Gauguin, for example) with her sensitivity to local color and artesanía (handcrafts) in her portraits, still lives, circus scenes, alacenas (cupboards), female nudes set in mythological lands, and metaphysical landscapes. While a single mother with three young children, she was determined to establish an artistic career for herself. Represented by Inés Amor's Galería de Arte Mexicano she found early national and international success, becoming the first Mexican female artist to have a solo show in New York City (at Frances Flynn Paine's Art Center Gallery in 1930). By 1943, art critic Justino Fernández writing for the daily Hoy, had pronounced Izquierdo, "the only woman painter of any importance to have emerged to this day." Izquierdo produced many portraits in the early-to-mid 1940s; several, according to art historian Sylvia Navarrete, were commissions secured by the artist's then-husband and promoter, the Chilean Raúl Uribe, who she married in 1944 and eventually divorced. Independent curator Elizabeth Ferrer comments that Izquierdo endowed these portraits with a "commanding presence." With their, "round heads, wide-set almond-shaped eyes, arched eyebrows, and full sensuous lips, they were cast, whether consciously or not, in her own image," as is the case, to an extent, with Rebozo rojo of this period. Thought possibly to portray María Luisa Vargas de Domínguez, the sitter is wrapped in Izquierdo's red silk shawl; this symbol of feminine power and mexicanidad (Mexicanness) also appears in Autorretrato of 1940, and along with the same regal, yellow-and-blue handcrafted chair, in Mi tía of 1945 as well. A marked shift from Izquierdo's previous portraiture is apparent in Rebozo rojo. Absent is Izquierdo's more common primitivizing approach to the figure--a shortening of limbs, mask-like sculpting of the head and face, dark palette, frontality, and rigidity. nineteenth- century portraitist José María Estrada and Le Douanier Rousseau, so important to Izquierdo's portraits elsewhere, are invisible here. Soft, blended brushstrokes, uniform lighting, convincing anatomical proportions, and spatial recession replace the former roughness and texture, flattening of form and compressed, shallow spaces. The purposeful crudeness or rawness, typical of Izquierdo's earlier work, here is held in check. Instead, arresting in its quiet elegance and noble grace, Rebozo rojo boasts a more naturalistic approach to form and color. Teresa Eckmann, Assistant Professor of Contemporary Latin American Art History, University of Texas, San Antonio 1 Justino Fernández, "María Izquierdo" reprinted in María Izquierdo (Guadalajara: Departamento de Bellas Artes, Gobierno de Jalisco, 1985), 31. 2 Sylvia Navarrette, "María Izquierdo" in María Izquierdo (Mexico City: Centro Cultural Arte Contemporáneo, 1988), 82. 3 Elizabeth Ferrer, "María Izquierdo" in Latin American Artists of the Twentieth Century, ed. Waldo Rasmussen et al. (New York: Museum of Modern Art, 1993), 118. 4 Elizabeth Ferrer, 118. This painting is part of the National Heritage of Mexico and cannot be removed from that country. Accordingly, it is offered for sale in New York from the catalogue and will not be available in New York. Delivery of the painting will be made in Mexico in compliance with local requirements. Prospective buyers may contact Christie's representatives in Mexico for an appointment to view the work.