查询历史市场洞察最佳拍卖结果在拍卖会上售出的同类画作博物馆收藏的绘画作品其他资源图片库您可能还喜欢
返回

鲁菲诺·塔马约恩（1899-1991）

艺人简介 查询
 
<div>In the mid-1920s, Rufino Tamayo embarked on the crucial development phase as a sophisticated, contemporary colorist. In New York, he encountered the groundbreaking works of Picasso, Braque, and Giorgio de Chirico, along with the enduring impact of Cubism. Exploring painterly and plastic values through subjects sourced from street scenes, popular culture, and the fabric of daily life, his unique approach to color and form began to take shape. It was a pivotal shift toward cosmopolitan aesthetics, setting him apart from the nationalist fervor championed by the politically charged narratives of the Mexican Muralist movement.  By focusing on the vitality of popular culture, he captured the essential Mexican identity that prioritized universal artistic values over explicit social and political commentary. The approach underscored his commitment to redefining Mexican art on the global stage and highlighted his innovative contributions to the modernist dialogue. </div><br><br><div> </div><br><br><div>Like Cézanne, Tamayo elevated the still life genre to some of its most beautifully simple expressions. Yet high sophistication underlies the ease with which Tamayo melds vibrant Mexican motifs with the avant-garde influences of the School of Paris. As "Naturaleza Muerta" of 1935 reveals, Tamayo refused to lapse into the mere decoration that often characterizes the contemporary School of Paris art with which his work draws comparisons. Instead, his arrangement of watermelons, bottles, a coffee pot, and sundry items staged within a sobering, earthbound tonality and indeterminant, shallow space recalls Tamayo's early interest in Surrealism. An overlayed square matrix underscores the contrast between the organic subjects of the painting and the abstract, intellectualized structure imposed upon them, deepening the interpretation of the artist's exploration of visual perception and representation. In this way, the grid serves to navigate between the visible world and the underlying structures that inform our understanding of it, inviting viewers to consider the interplay between reality and abstraction, sensation and analysis.</div> <div>In the mid-1920s, Rufino Tamayo embarked on the crucial development phase as a sophisticated, contemporary colorist. In New York, he encountered the groundbreaking works of Picasso, Braque, and Giorgio de Chirico, along with the enduring impact of Cubism. Exploring painterly and plastic values through subjects sourced from street scenes, popular culture, and the fabric of daily life, his unique approach to color and form began to take shape. It was a pivotal shift toward cosmopolitan aesthetics, setting him apart from the nationalist fervor championed by the politically charged narratives of the Mexican Muralist movement.  By focusing on the vitality of popular culture, he captured the essential Mexican identity that prioritized universal artistic values over explicit social and political commentary. The approach underscored his commitment to redefining Mexican art on the global stage and highlighted his innovative contributions to the modernist dialogue. </div><br><br><div> </div><br><br><div>Like Cézanne, Tamayo elevated the still life genre to some of its most beautifully simple expressions. Yet high sophistication underlies the ease with which Tamayo melds vibrant Mexican motifs with the avant-garde influences of the School of Paris. As "Naturaleza Muerta" of 1935 reveals, Tamayo refused to lapse into the mere decoration that often characterizes the contemporary School of Paris art with which his work draws comparisons. Instead, his arrangement of watermelons, bottles, a coffee pot, and sundry items staged within a sobering, earthbound tonality and indeterminant, shallow space recalls Tamayo's early interest in Surrealism. An overlayed square matrix underscores the contrast between the organic subjects of the painting and the abstract, intellectualized structure imposed upon them, deepening the interpretation of the artist's exploration of visual perception and representation. In this way, the grid serves to navigate between the visible world and the underlying structures that inform our understanding of it, inviting viewers to consider the interplay between reality and abstraction, sensation and analysis.</div> <div>In the mid-1920s, Rufino Tamayo embarked on the crucial development phase as a sophisticated, contemporary colorist. In New York, he encountered the groundbreaking works of Picasso, Braque, and Giorgio de Chirico, along with the enduring impact of Cubism. Exploring painterly and plastic values through subjects sourced from street scenes, popular culture, and the fabric of daily life, his unique approach to color and form began to take shape. It was a pivotal shift toward cosmopolitan aesthetics, setting him apart from the nationalist fervor championed by the politically charged narratives of the Mexican Muralist movement.  By focusing on the vitality of popular culture, he captured the essential Mexican identity that prioritized universal artistic values over explicit social and political commentary. The approach underscored his commitment to redefining Mexican art on the global stage and highlighted his innovative contributions to the modernist dialogue. </div><br><br><div> </div><br><br><div>Like Cézanne, Tamayo elevated the still life genre to some of its most beautifully simple expressions. Yet high sophistication underlies the ease with which Tamayo melds vibrant Mexican motifs with the avant-garde influences of the School of Paris. As "Naturaleza Muerta" of 1935 reveals, Tamayo refused to lapse into the mere decoration that often characterizes the contemporary School of Paris art with which his work draws comparisons. Instead, his arrangement of watermelons, bottles, a coffee pot, and sundry items staged within a sobering, earthbound tonality and indeterminant, shallow space recalls Tamayo's early interest in Surrealism. An overlayed square matrix underscores the contrast between the organic subjects of the painting and the abstract, intellectualized structure imposed upon them, deepening the interpretation of the artist's exploration of visual perception and representation. In this way, the grid serves to navigate between the visible world and the underlying structures that inform our understanding of it, inviting viewers to consider the interplay between reality and abstraction, sensation and analysis.</div> <div>In the mid-1920s, Rufino Tamayo embarked on the crucial development phase as a sophisticated, contemporary colorist. In New York, he encountered the groundbreaking works of Picasso, Braque, and Giorgio de Chirico, along with the enduring impact of Cubism. Exploring painterly and plastic values through subjects sourced from street scenes, popular culture, and the fabric of daily life, his unique approach to color and form began to take shape. It was a pivotal shift toward cosmopolitan aesthetics, setting him apart from the nationalist fervor championed by the politically charged narratives of the Mexican Muralist movement.  By focusing on the vitality of popular culture, he captured the essential Mexican identity that prioritized universal artistic values over explicit social and political commentary. The approach underscored his commitment to redefining Mexican art on the global stage and highlighted his innovative contributions to the modernist dialogue. </div><br><br><div> </div><br><br><div>Like Cézanne, Tamayo elevated the still life genre to some of its most beautifully simple expressions. Yet high sophistication underlies the ease with which Tamayo melds vibrant Mexican motifs with the avant-garde influences of the School of Paris. As "Naturaleza Muerta" of 1935 reveals, Tamayo refused to lapse into the mere decoration that often characterizes the contemporary School of Paris art with which his work draws comparisons. Instead, his arrangement of watermelons, bottles, a coffee pot, and sundry items staged within a sobering, earthbound tonality and indeterminant, shallow space recalls Tamayo's early interest in Surrealism. An overlayed square matrix underscores the contrast between the organic subjects of the painting and the abstract, intellectualized structure imposed upon them, deepening the interpretation of the artist's exploration of visual perception and representation. In this way, the grid serves to navigate between the visible world and the underlying structures that inform our understanding of it, inviting viewers to consider the interplay between reality and abstraction, sensation and analysis.</div> <div>In the mid-1920s, Rufino Tamayo embarked on the crucial development phase as a sophisticated, contemporary colorist. In New York, he encountered the groundbreaking works of Picasso, Braque, and Giorgio de Chirico, along with the enduring impact of Cubism. Exploring painterly and plastic values through subjects sourced from street scenes, popular culture, and the fabric of daily life, his unique approach to color and form began to take shape. It was a pivotal shift toward cosmopolitan aesthetics, setting him apart from the nationalist fervor championed by the politically charged narratives of the Mexican Muralist movement.  By focusing on the vitality of popular culture, he captured the essential Mexican identity that prioritized universal artistic values over explicit social and political commentary. The approach underscored his commitment to redefining Mexican art on the global stage and highlighted his innovative contributions to the modernist dialogue. </div><br><br><div> </div><br><br><div>Like Cézanne, Tamayo elevated the still life genre to some of its most beautifully simple expressions. Yet high sophistication underlies the ease with which Tamayo melds vibrant Mexican motifs with the avant-garde influences of the School of Paris. As "Naturaleza Muerta" of 1935 reveals, Tamayo refused to lapse into the mere decoration that often characterizes the contemporary School of Paris art with which his work draws comparisons. Instead, his arrangement of watermelons, bottles, a coffee pot, and sundry items staged within a sobering, earthbound tonality and indeterminant, shallow space recalls Tamayo's early interest in Surrealism. An overlayed square matrix underscores the contrast between the organic subjects of the painting and the abstract, intellectualized structure imposed upon them, deepening the interpretation of the artist's exploration of visual perception and representation. In this way, the grid serves to navigate between the visible world and the underlying structures that inform our understanding of it, inviting viewers to consider the interplay between reality and abstraction, sensation and analysis.</div> <div>In the mid-1920s, Rufino Tamayo embarked on the crucial development phase as a sophisticated, contemporary colorist. In New York, he encountered the groundbreaking works of Picasso, Braque, and Giorgio de Chirico, along with the enduring impact of Cubism. Exploring painterly and plastic values through subjects sourced from street scenes, popular culture, and the fabric of daily life, his unique approach to color and form began to take shape. It was a pivotal shift toward cosmopolitan aesthetics, setting him apart from the nationalist fervor championed by the politically charged narratives of the Mexican Muralist movement.  By focusing on the vitality of popular culture, he captured the essential Mexican identity that prioritized universal artistic values over explicit social and political commentary. The approach underscored his commitment to redefining Mexican art on the global stage and highlighted his innovative contributions to the modernist dialogue. </div><br><br><div> </div><br><br><div>Like Cézanne, Tamayo elevated the still life genre to some of its most beautifully simple expressions. Yet high sophistication underlies the ease with which Tamayo melds vibrant Mexican motifs with the avant-garde influences of the School of Paris. As "Naturaleza Muerta" of 1935 reveals, Tamayo refused to lapse into the mere decoration that often characterizes the contemporary School of Paris art with which his work draws comparisons. Instead, his arrangement of watermelons, bottles, a coffee pot, and sundry items staged within a sobering, earthbound tonality and indeterminant, shallow space recalls Tamayo's early interest in Surrealism. An overlayed square matrix underscores the contrast between the organic subjects of the painting and the abstract, intellectualized structure imposed upon them, deepening the interpretation of the artist's exploration of visual perception and representation. In this way, the grid serves to navigate between the visible world and the underlying structures that inform our understanding of it, inviting viewers to consider the interplay between reality and abstraction, sensation and analysis.</div> <div>In the mid-1920s, Rufino Tamayo embarked on the crucial development phase as a sophisticated, contemporary colorist. In New York, he encountered the groundbreaking works of Picasso, Braque, and Giorgio de Chirico, along with the enduring impact of Cubism. Exploring painterly and plastic values through subjects sourced from street scenes, popular culture, and the fabric of daily life, his unique approach to color and form began to take shape. It was a pivotal shift toward cosmopolitan aesthetics, setting him apart from the nationalist fervor championed by the politically charged narratives of the Mexican Muralist movement.  By focusing on the vitality of popular culture, he captured the essential Mexican identity that prioritized universal artistic values over explicit social and political commentary. The approach underscored his commitment to redefining Mexican art on the global stage and highlighted his innovative contributions to the modernist dialogue. </div><br><br><div> </div><br><br><div>Like Cézanne, Tamayo elevated the still life genre to some of its most beautifully simple expressions. Yet high sophistication underlies the ease with which Tamayo melds vibrant Mexican motifs with the avant-garde influences of the School of Paris. As "Naturaleza Muerta" of 1935 reveals, Tamayo refused to lapse into the mere decoration that often characterizes the contemporary School of Paris art with which his work draws comparisons. Instead, his arrangement of watermelons, bottles, a coffee pot, and sundry items staged within a sobering, earthbound tonality and indeterminant, shallow space recalls Tamayo's early interest in Surrealism. An overlayed square matrix underscores the contrast between the organic subjects of the painting and the abstract, intellectualized structure imposed upon them, deepening the interpretation of the artist's exploration of visual perception and representation. In this way, the grid serves to navigate between the visible world and the underlying structures that inform our understanding of it, inviting viewers to consider the interplay between reality and abstraction, sensation and analysis.</div> <div>In the mid-1920s, Rufino Tamayo embarked on the crucial development phase as a sophisticated, contemporary colorist. In New York, he encountered the groundbreaking works of Picasso, Braque, and Giorgio de Chirico, along with the enduring impact of Cubism. Exploring painterly and plastic values through subjects sourced from street scenes, popular culture, and the fabric of daily life, his unique approach to color and form began to take shape. It was a pivotal shift toward cosmopolitan aesthetics, setting him apart from the nationalist fervor championed by the politically charged narratives of the Mexican Muralist movement.  By focusing on the vitality of popular culture, he captured the essential Mexican identity that prioritized universal artistic values over explicit social and political commentary. The approach underscored his commitment to redefining Mexican art on the global stage and highlighted his innovative contributions to the modernist dialogue. </div><br><br><div> </div><br><br><div>Like Cézanne, Tamayo elevated the still life genre to some of its most beautifully simple expressions. Yet high sophistication underlies the ease with which Tamayo melds vibrant Mexican motifs with the avant-garde influences of the School of Paris. As "Naturaleza Muerta" of 1935 reveals, Tamayo refused to lapse into the mere decoration that often characterizes the contemporary School of Paris art with which his work draws comparisons. Instead, his arrangement of watermelons, bottles, a coffee pot, and sundry items staged within a sobering, earthbound tonality and indeterminant, shallow space recalls Tamayo's early interest in Surrealism. An overlayed square matrix underscores the contrast between the organic subjects of the painting and the abstract, intellectualized structure imposed upon them, deepening the interpretation of the artist's exploration of visual perception and representation. In this way, the grid serves to navigate between the visible world and the underlying structures that inform our understanding of it, inviting viewers to consider the interplay between reality and abstraction, sensation and analysis.</div> <div>In the mid-1920s, Rufino Tamayo embarked on the crucial development phase as a sophisticated, contemporary colorist. In New York, he encountered the groundbreaking works of Picasso, Braque, and Giorgio de Chirico, along with the enduring impact of Cubism. Exploring painterly and plastic values through subjects sourced from street scenes, popular culture, and the fabric of daily life, his unique approach to color and form began to take shape. It was a pivotal shift toward cosmopolitan aesthetics, setting him apart from the nationalist fervor championed by the politically charged narratives of the Mexican Muralist movement.  By focusing on the vitality of popular culture, he captured the essential Mexican identity that prioritized universal artistic values over explicit social and political commentary. The approach underscored his commitment to redefining Mexican art on the global stage and highlighted his innovative contributions to the modernist dialogue. </div><br><br><div> </div><br><br><div>Like Cézanne, Tamayo elevated the still life genre to some of its most beautifully simple expressions. Yet high sophistication underlies the ease with which Tamayo melds vibrant Mexican motifs with the avant-garde influences of the School of Paris. As "Naturaleza Muerta" of 1935 reveals, Tamayo refused to lapse into the mere decoration that often characterizes the contemporary School of Paris art with which his work draws comparisons. Instead, his arrangement of watermelons, bottles, a coffee pot, and sundry items staged within a sobering, earthbound tonality and indeterminant, shallow space recalls Tamayo's early interest in Surrealism. An overlayed square matrix underscores the contrast between the organic subjects of the painting and the abstract, intellectualized structure imposed upon them, deepening the interpretation of the artist's exploration of visual perception and representation. In this way, the grid serves to navigate between the visible world and the underlying structures that inform our understanding of it, inviting viewers to consider the interplay between reality and abstraction, sensation and analysis.</div> <div>In the mid-1920s, Rufino Tamayo embarked on the crucial development phase as a sophisticated, contemporary colorist. In New York, he encountered the groundbreaking works of Picasso, Braque, and Giorgio de Chirico, along with the enduring impact of Cubism. Exploring painterly and plastic values through subjects sourced from street scenes, popular culture, and the fabric of daily life, his unique approach to color and form began to take shape. It was a pivotal shift toward cosmopolitan aesthetics, setting him apart from the nationalist fervor championed by the politically charged narratives of the Mexican Muralist movement.  By focusing on the vitality of popular culture, he captured the essential Mexican identity that prioritized universal artistic values over explicit social and political commentary. The approach underscored his commitment to redefining Mexican art on the global stage and highlighted his innovative contributions to the modernist dialogue. </div><br><br><div> </div><br><br><div>Like Cézanne, Tamayo elevated the still life genre to some of its most beautifully simple expressions. Yet high sophistication underlies the ease with which Tamayo melds vibrant Mexican motifs with the avant-garde influences of the School of Paris. As "Naturaleza Muerta" of 1935 reveals, Tamayo refused to lapse into the mere decoration that often characterizes the contemporary School of Paris art with which his work draws comparisons. Instead, his arrangement of watermelons, bottles, a coffee pot, and sundry items staged within a sobering, earthbound tonality and indeterminant, shallow space recalls Tamayo's early interest in Surrealism. An overlayed square matrix underscores the contrast between the organic subjects of the painting and the abstract, intellectualized structure imposed upon them, deepening the interpretation of the artist's exploration of visual perception and representation. In this way, the grid serves to navigate between the visible world and the underlying structures that inform our understanding of it, inviting viewers to consider the interplay between reality and abstraction, sensation and analysis.</div>
死亡的自然193529 1/4 x 58 3/4 英寸（74.3 x 149.23 厘米(74.3 x 149.23 厘米）布面油画
种源
爱德华-乔多罗夫收藏，比佛利山庄
范妮-布莱斯小姐的收藏，洛杉矶
玛丽-安妮-马丁/美术馆，纽约
展会信息
日本名古屋，名古屋市立美术馆，"鲁菲诺-塔马约回顾展"，1993 年 10 月至 12 月 12 日
墨西哥，墨西哥城，Fundación Cultural Televisa & Centro Cultural Arte Contemporáneo，"Rufino Tamayo del Reflejo al Sueño 1920 -1950"，1996 年 10 月 19 日至 2 月 25 日
加利福尼亚州圣巴巴拉，圣巴巴拉艺术博物馆，"塔马约：重新诠释的现代偶像"，2 月 17 日至 5 月 27 日、...更。。。 2007
文学
"今天，鲁菲诺-塔马约在 Pasaje América 的展览开幕"，《环球报》，1935 年 11 月（图文并茂）
罗伯特-戈德华特，《鲁菲诺-塔马约》，纽约州纽约市，1947 年，第 XVI 页（第 56 页有插图）。
Justino Fernández、Rufino Tamayo，墨西哥墨西哥城，1948 年
Ceferino Palencia，Rufino Tayamo，墨西哥，墨西哥城，1950 年，第 4 号。4 （有插图）
名古屋市立美术馆，Rufino Tamayo 回顾展，名古屋，日本，1993 年，编号 17，第 34 页（彩色插图）。
Fundación Cultural Televisa & Centro Cultural Arte Contemporáneo, Rufino Tamayo: del Reflejo al Sueño 1920 - 1950, Mexico City, Mexico, 1995, no.56，第 46 页（彩色插图）
Octavio Paz，Transfiguraciones en Historia del Arte de Oaxaca，墨西哥，墨西哥城，1998 年，第 5 页，第 16-17 页（彩色插图）。5，第 16-17 页（彩色插图）
奥克塔维奥-帕斯，《鲁菲诺-塔马约》，墨西哥，墨西哥城，2003 年，第 5 号。5 （彩色插图）
Diana C.杜邦、胡安-卡洛斯-佩雷达等，《塔马约；重新诠释的现代偶像》，加利福尼亚州圣巴巴拉，2007 年，图 43，第 162 页（彩色插图）。
...少。。。
返回
询问

历程

20 世纪 20 年代中期，鲁菲诺-塔马约开始了作为一名成熟的当代色彩画家的关键发展阶段。在纽约，他接触到毕加索、布拉克和乔治-德-基里科的开创性作品，以及立体主义的持久影响。他从街景、流行文化和日常生活中汲取素材，探索绘画和造型的价值，开始形成自己独特的色彩和造型方法。这是向世界性美学的关键转变，使他有别于墨西哥壁画运动的政治叙事所倡导的民族主义狂热。通过关注大众文化的生命力，他捕捉到了墨西哥的本质特性，将普遍的艺术价值置于明确的社会和政治评论之上。这种方法强调了他在全球舞台上重新定义墨西哥艺术的承诺，并突出了他对现代主义对话的创新贡献。

与塞尚一样，塔马约也将静物画提升到了最简洁优美的表现形式。然而，塔马约将充满活力的墨西哥主题与巴黎画派的前卫影响轻松地融为一体，其背后蕴含着高度的复杂性。正如 1935 年的《Naturaleza Muerta》所揭示的那样，塔马约拒绝陷入单纯的装饰，他的作品往往是当代巴黎画派艺术的特征，而他的作品则与巴黎画派相媲美。相反，他将西瓜、瓶子、咖啡壶和其他杂物摆放在一个清醒、朴实的色调和不确定的浅空间中，让人想起塔马约早期对超现实主义的兴趣。叠加的方形矩阵强调了画中有机主题与强加于其上的抽象、知识化结构之间的对比，加深了对艺术家探索视觉感知和表现的诠释。通过这种方式，网格在可视世界与指导我们理解世界的底层结构之间起到了导航作用，吸引观众思考现实与抽象、感觉与分析之间的相互作用。

  • 鲁菲诺和奥尔加-塔马约，巴勃罗-毕加索及其家人，1949 年
    1949 年，鲁菲诺和奥尔加-塔马约与巴勃罗-毕加索及家人在一起
  • 塔马约--1968--照片--阿曼多-埃雷拉
    Rufino Tamayo 与 1968 年的 "Sandias" - 照片：阿曼多-埃雷拉

重要事实

  • 通过关注大众文化的活力，鲁菲诺-塔马约捕捉到了墨西哥的基本特征，将普遍的艺术价值置于明确的社会和政治评论之上。这种方法强调了他在全球舞台上重新定义墨西哥艺术的承诺，并突出了他对现代主义对话的创新贡献。
  • 与塞尚一样，塔马约也将静物画提升到了最简洁优美的表现形式。然而，塔马约将充满活力的墨西哥图案与巴黎画派的前卫影响轻松地融合在一起，体现了高度的精致。
  • 正如 1935 年的《Naturaleza Muerta》所揭示的那样，塔马约拒绝陷入单纯的装饰之中，他的作品与当代巴黎艺术流派的作品经常相提并论。相反，他将西瓜、瓶子、咖啡壶和其他杂物摆放在一个令人清醒、朴实的色调和不确定的浅空间中，让人想起塔马约早期对超现实主义的兴趣。
"艺术是一种表达方式，必须为每个人、每个地方所理解。它从大地、我们生活的纹理和我们的经验中生长出来"。- 鲁菲诺-塔马约

市场情报

  • 截图
    根据伦敦艺术市场研究公司（Art Market Research）的数据，自 1976 年以来，塔马约的市场价格以 7.5% 的复合年增长率增长。
  • 这幅画已在 9 本书中出版，并在 3 个博物馆展出。
  • 有 10 件塔马约艺术品的拍卖价格超过了 300 万美元大关（见下文），其中 2 件是以西瓜为主题的作品（"sandías"）。
  • 根据伦敦艺术市场研究公司（Art Market Research）的数据，自 1976 年以来，塔马约的市场价格年复合增长率为 7.5%（见 AMR 图表）。
  • 塔马约的十幅画作在拍卖会上拍出了 300 多万美元的高价。 
  • 多幅以切片西瓜为主题的画作销量最高。

最佳拍卖结果

"特罗瓦多"（1945 年），布面油画，60 3/8 x 50 英寸。于 2008 年 5 月在纽约苏富比拍卖行以 587.3 万美元售出：2008 年 5 月以 5,873,000 美元的价格售出。
"特罗瓦多"（1945 年），布面油画，60 3/8 x 50 英寸。于 2008 年 5 月在纽约苏富比拍卖行以 587.3 万美元售出：2008 年 5 月以 5,873,000 美元的价格售出。
"美国"（约 1955 年），布面油画，13 英尺 2 英寸 x 45 英尺 10.3/8 英寸。于 2008 年 11 月在纽约苏富比拍卖行以 680.25 万美元售出：2008 年 11 月在纽约苏富比拍卖行以 680.25 万美元售出。
"美国"（约 1955 年），布面油画，13 英尺 2 英寸 x 45 英尺 10.3/8 英寸。于 2008 年 11 月在纽约苏富比拍卖行以 680.25 万美元售出：2008 年 11 月在纽约苏富比拍卖行以 680.25 万美元售出。
"Perro aullando a la Luna"（1942 年），布面油画，44 1/4 x 33 3/4 英寸。 2008 年 5 月在纽约苏富比拍卖行以 5,873,000 美元售出：2008 年 5 月以 5,873,000 美元的价格售出。
"Perro aullando a la Luna"（1942 年），布面油画，44 1/4 x 33 3/4 英寸。 2008 年 5 月在纽约苏富比拍卖行以 5,873,000 美元售出：2008 年 5 月以 5,873,000 美元的价格售出。

拍卖会上售出的同类画作

"桑迪亚斯》（1980 年），布面油画，49 x 71 英寸。于2019年5月14日在纽约苏富比拍卖行以493.39万美元售出。
"桑迪亚斯》（1980 年），布面油画，49 x 71 英寸。于2019年5月14日在纽约苏富比拍卖行以493.39万美元售出。
  • 比我们的工作晚得多的例子
  • 与我们的绘画风格相似
  • 与我们的画作主题相同
"El Comedor de sandías"（1949 年），布面油画，39 x 32 英寸。 于 2008 年 5 月 29 日在纽约苏富比以 362.5 万美元售出。
"El Comedor de sandías"（1949 年），布面油画，39 x 32 英寸。 于 2008 年 5 月 29 日在纽约苏富比以 362.5 万美元售出。
  • 与我们的工作具有可比性的时期
  • 与我们的绘画风格相似
  • 与我们的画作主题相同
"Sandías y Naranja"（1957 年），布面油画，40 x 32 英寸。 纽约苏富比拍卖行：2016 年 11 月 22 日，以 292,500 美元售出。
"Sandías y Naranja"（1957 年），布面油画，40 x 32 英寸。 纽约苏富比拍卖行：2016 年 11 月 22 日，以 292,500 美元售出。
  • 比我们的例子小得多
  • 艺术家的晚期
  • 与我们的画作主题相同

博物馆收藏的画作

"特万特佩克妇女"（1938 年），布面油画，36 x 28 英寸，纽约现代艺术博物馆
"特万特佩克妇女"（1938 年），布面油画，36 x 28 英寸，纽约现代艺术博物馆
"灰衣女子（1959 年），布面油画，76 x 51 英寸，纽约古根海姆博物馆
"灰衣女子（1959 年），布面油画，76 x 51 英寸，纽约古根海姆博物馆
"菠萝女人"（1941 年），布面油画，40 x 30 英寸，纽约现代艺术博物馆
"菠萝女人"（1941 年），布面油画，40 x 30 英寸，纽约现代艺术博物馆
"白色果碗"（1938 年），布面油画，7 7/8 × 23 5/8 英寸，纽约现代艺术博物馆，纽约© 2024 年，艺术家权利协会（ARS），纽约
"白果碗"（1938 年），布面油画，7 7/8 × 23 5/8 英寸，纽约现代艺术博物馆，纽约 © 2024 艺术家版权协会（ARS），纽约
"你能相信吗？ 说我们的路是唯一的路，而艺术的根本是自由！艺术的道路有千万条，艺术家有多少，道路就有多少"。- 鲁菲诺-塔马约

其他资源

鲁菲诺-塔马约，作者：格雷戈里奥-卢克

格雷戈里奥-卢克（Gregorio Luke）讨论了墨西哥色彩大师鲁菲诺-塔马约（Rufino Tamayo），以及他将绘画作为一种精神活动的坚定承诺。

鲁菲诺-塔马约--他的艺术源泉

让人们深入了解塔玛约的生活和经历。

材料与记忆：MIXOGRAFIA 和 TAMAYO

通过 Zoom 观看有关 Rufino Tamayo 和开创性的 Mixografía 版画技术的特别对话。
参观塔玛约博物馆

参观塔玛约博物馆

塔玛约：纽约岁月

塔玛约：纽约岁月

鲁菲诺·塔马约

鲁菲诺·塔马约

图片库

  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail1
  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail2
  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail3
  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail4
  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail5
  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail6
  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail7
  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail8
  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail9
  • 鲁菲诺-塔马约-自然萨-穆埃尔塔-45145
  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail1
  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail2
  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail3
  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail4
  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail5
  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail6
  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail7
  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail8
  • Rufino-Tamayo-Naturaleza-Muerta-45145_detail9
  • 鲁菲诺-塔马约-自然萨-穆埃尔塔-45145

询问

查询 - 艺术单品

你可能也喜欢