루피노 타마요(Rufino Tamayo), 멕시코, 화가, 1899-1991

루피노 타마요(Rufino Tamayo), 멕시코, 화가, 1899-1991

루피노 타마요(Rufino Tamayo), 멕시코, 화가, 1899-1991

루피노 타마요(Rufino Tamayo), 멕시코, 화가, 1899-1991

루피노 타마요(Rufino Tamayo), 멕시코, 화가, 1899-1991

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루피노 타마요(Rufino Tamayo), 멕시코, 화가, 1899-1991

루피노 타마요(Rufino Tamayo), 멕시코, 화가, 1899-1991

루피노 타마요(Rufino Tamayo), 멕시코, 화가, 1899-1991

루피노 타마요(Rufino Tamayo), 멕시코, 화가, 1899-1991

루피노 타마요(Rufino Tamayo), 멕시코, 화가, 1899-1991

루피노 타마요(Rufino Tamayo), 멕시코, 화가, 1899-1991

 

루피노 타마요(Rufino Tamayo), 멕시코, 화가, 1899-1991

'루피노 타마요'는 개성이 너무 강한 탓에 다니던 미술학교를 자퇴하고, 독학으로 그림공부를 한, 멕시코의 화가입니다. 멕시코 원주민 전통예술과 유럽의 현대미술에 관심을 갖고 연구하여 독자적인 스타일을 완성하였죠.

 

멕시코 문화와 관련된 주제를 많이 다룬 그의 작품은 생생한 색감과 질감이 잘 느껴지며, 상징적이고 반추상적인 화풍으로 묘사되어 있습니다.

 

고대 아즈텍과 마야 때부터 멕시코인들과 밀접했던 토속적인 개를 많이 그렸으며, '프리다 칼로'가 수박에다 "VIVA LA VIDA 인생 만세"라고 새겼듯이, '따마요' 역시 수박을 소재로 한 작품이 많답니다.

                                                                               About Him

 

Rufino Tamayo (born August 26, 1899, Oaxaca, Mexico—died June 24, 1991, Mexico City) was a Mexican painter who combined modern European painting styles with Mexican folk themes.

 

Tamayo attended the School of Fine Arts in Mexico City from 1917 to 1921, but he was dissatisfied with the traditional art program and thereafter studied independently. He became head of the department of ethnographic drawing at the National Museum of Archaeology (1921–26) in Mexico City, where he developed an interest in pre-Columbian art.

 

Tamayo spent many years of his career in New York City, first settling there from 1926 to 1928. He retained his ties to Mexico and returned there often, but the modern art he encountered in New York—especially the paintings of European artists Pablo Picasso, Georges Braque, and Henri Matisse—profoundly influenced his work. Tamayo reacted against the epic proportions and political rhetoric of the paintings of the Mexican muralists, who had dominated the country’s art production since the Mexican Revolution. Instead, he chose to address formal and aesthetic issues in easel paintings, fusing European styles such as Cubism and Surrealism with subject matter that often involved Mexican culture.

 

By the 1930s Tamayo had become a well-known figure in the Mexican art scene. He lived in New York again from 1936 to 1950. During this period the various styles of his paintings ranged from the stolid figures in Women of Tehuantepec (1939) to the expressive violence of the barking mongrels in Animals (1941). He often used vibrant colours and textured surfaces to depict his subjects in symbolic, stylized, or semiabstract modes.

 

Tamayo exhibited his paintings at the Venice Biennale in 1950, and the success of his work there led to international recognition. He went on to design murals for the National Palace of Fine Arts in Mexico City (Birth of Nationality and Mexico Today, both 1952–53) and for UNESCO in Paris (Prometheus Bringing Fire to Man, 1958). Tamayo was a prolific printmaker, and he also experimented with bronze and iron sculpture.

 

After living in Paris from 1957 to 1964, Tamayo settled in Mexico. In 1974 he donated his large collection of pre-Columbian art to the city of Oaxaca, founding the Rufino Tamayo Museum of Pre-Hispanic Art. In 1981 Tamayo and his wife donated to the people of Mexico their collection of international art, which formed the basis for the Rufino Tamayo Museum of Contemporary Art in Mexico City.

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파블로 피카소(Pablo Picasso), 스페인, 화가, 1881-1973

 

콘스탄틴 로미킨(Konstantin Lomykin), 우크라이나, 인민예술가, 1924-1993

 

모네의 증기기관차 (1877)