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DESCRIPTION:
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Mixograph printed in colors on handmade paper, signed in colored pencil and numbered. This very rare print, is one of a few mixographs that Tamayo executed on a large mural-like format. In fact, the scale required that Luis Remba, who commissioned the print, have a stone quarried in Mexico that could carry a 60 x 96 inch image. He also had to build a new paper mill to accommodate a sheet of paper of these dimensions, and a new printing press with which to print the image. All of these technical printing efforts were done to illustrate Tamayo's poignant and apocalyptical portrayal of the human condition of the twentieth century. Here, dogs, representing atomic war, terror and pollution, attack fleeing and terrified, naked human beings to an unknown destination. By far, this print is one of the most powerful social comments Tamayo has ever made in his visual work and a tour de force in printmaking.
This print is signed, and numbered 50/75, in white crayon. It is the opinion of this gallery, that this mixografia is the best print of Tamayo's career. This is the first time, in more than 10 years that we have been dealing in Tamayo's printwork, that we have had this print. It is very rare, and difficult to find. The colors are gorgeous, the lines are elegant, and overall this print is a sublime example of how splendid Tamayo's mixografia work can be. All of the Tamayo printwork from MLA Gallery come with an unconditional guarantee of authenticity, and a certificate of authentication.
Excellent prints by Tamayo represent a blue chip investment. They will more than likely appreciate dramatically over time. One of Tamayo's paintings entitled "Trovador", which was done in 1945, recently set a record for the highest price ever paid at auction, for a Latin American painting, at the Christies sale on May 28th, 2008, when it sold for $7,209.000.00.
Some details on the mixografia printmaking process are as follows:
Luis and Lea Remba first approached Tamayo with the idea of making prints in 1973. Initially uninterested, Tamayo said that he would venture into printmaking only if he felt confident he could produce editions that possessed the same kinds of volume, textures and depth as his paintings. Luis Remba responded to Tamayo’s challenge by developing a printing method which, eventually, he and Tamayo would together name “Mixografia.” As Remba explains, “I plains, “I set to work and found a way to print with texture. The method allowed the artist to create a collage or maquette out of various materials, such as charred wood, rope, cotton and other natural substances, which we would then cast in copper as a printing plate. Remba continues, “the key to the Mixografia process came when we started making our own paper for the editions, which allowed the ink to be absorbed and created a fresco-like quality to the finished works.” Tamayo found the results extremely pleasing, meaning, as noted above, that it captured the kind of textured luminousity of his paintings. Consequently, the artist embarked with the Rembas on a working relationship which spanned a seventeen-year period, resulting in eighty editions. Dos Personajes Atacados por Perros (Two Characters Attacked by Dogs) stands not only as the most remarkable piece in this collection of prints, but as a true testament to the Remba-Tamayo story. The Rembas printed this work with a stone from a Mexican quarry that measured ten-by-six feet and weighed ten thousand pounds.
The piece itself measures sixty by ninety-six inches.
pricing: very reasonable, and well under market value. Please inquire.
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