作品描述 |
Untitled (Soplador de vidrio), 1932
signed and dated
Diego Rivera 32. (lower right)
Conté crayon on...
Untitled (Soplador de vidrio), 1932
signed and dated
Diego Rivera 32. (lower right)
Conté crayon on rice paper
38.8 x 27.4 cm.
15 1/4 x 10 13/16 in.We wish to thank Professor Luis-Martín Lozano for his kind assistance in the cataloguing of this work.
Provenance
David Anderson Gallery, New York
Private Collection, US
Sale: Sotheby's, New York, Latin American Art, 1 June 2001, lot 100
Acquired from the above by the present owner
The Mexican artist and pioneer of the muralist movement, Diego Rivera, trained at the Escuela Nacional de Bellas Artes in Mexico City before spending over a decade in Europe. During his time in Europe, he drew influence from the Cubist style of Picasso and Cézanne, and he became a leading figure in the vibrant and cosmopolitan community of avant-garde artists. Fleeing from the romanticism of city life in Europe, Rivera returned to his homeland and began to paint works reflecting issues on the turbulent society which had erupted in Mexico after the revolution of 1910.
His socialist realist style became immediately recognisable, and his large-scale artworks across public institutions made him an artistic celebrity. In 1930, amid The Great Depression, Rivera and his wife, Frida Kahlo, moved to the United States. The fast-paced life north of the Mexican border, with its industrial advances and its smoky atmosphere, created a stark contrast to the vivacious colours and the simpler existence the couple enjoyed in Mexico. However, the alien nature along with their fascination for the United States during this era, gave birth to influential artworks by both artists.
Untitled (Soplador de Vidrio) translates as 'The Glassblower' and it is a delightful work on paper demonstrating Rivera's captivation with his newfound society. The rice paper is hand-made, visible through the rough edges and the artisan finish, a method inspired by Japanese art. The surface of the paper is smooth and translucent, and acts as the perfect canvas for Rivera's rapid brush strokes that sit delicately on the surface. He worked in a method known as 'estudio del natural', in which he hurriedly depicted the events taking place directly in front of him, transporting the viewer immediately to the scene. Despite the rushed nature of the brush strokes and the harsh subject matter, there is a gentle quality to the work seen through Rivera's delicate application and his dignified representation of the main figure in the foreground.
The Glassblower is drawn simplistically, making him somewhat cartoon-like in appearance. This minimalism is characteristic of Rivera's muralist style. Although the figure is uncomplicated in form, his facial expression is clearly conveyed through his stern brows and strong focus on his practice. This discipline is further echoed through the linear lines cutting across the central composition of the work; there is order and coherence amongst what was likely a bustling and chaotic factory setting. The work strongly suggests Rivera's interest with engineering technology and his admiration for the work force, it sings praise to the mastery of the skill inherent to manual labour.
It could be considered that this work was created as a preparatory sketch for Rivera's impressive commission at the Detroit Institute of Art. However, Soplador de Vidrio is larger than most other sketches created by the artist at this time and unique in nature, and so it could therefore be suggested that this work is possibly an independent drawing of a subject he cared so much for.
Rivera continues to hold the highest record for any work of art sold at auction by a Latin American artist. He is hugely historically significant, depicting the harsh realities of everyday life and championing socialist realism in the United States. His famously tempestuous marriage to Frida Kahlo and his close circle of high-profile friends, including Leon Trotsky, make him a charismatic artistic figure whose artwork is highly sought after. This rare piece is a fine example of Rivera's belief that art should serve a direct political and social function.
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