Obtenez gratuitement le prix de votre transport

1 lot à livrer

• Lot n° 66 José Clemente Orozco (1883-1949, Mexican) Untitled (two figures) Ink on paper Signed lower right: J.C. Orozco; inscribed indistinctly in pencil, verso Sheet: 9.875" H x 13.5" W Provenance: Private collection, Temecula, CA By family descent from a Mexican Art collector Other Notes: This lot is accompanied by a copy of a report by conservator Jose Sol Rosales, stating that he had the opportunity to examine the work and, in his opinion, believes it to be by José Clemente Orozco. The copied report bears his signature and a printed date of October 29, 2019, in Mexico City. Also included is a copy of a photograph showing Jose Sol Rosales signing a reproduction of the image, accompanied by his signature and red ink stamp. Additional related documentation is included with the lot. José Clemente Orozco stands as one of the central figures of the Mexican Mural Renaissance, a movement he helped shape alongside Diego Rivera and David Alfaro Siqueiros. Born in 1883 in Zapotlán el Grande, Jalisco, he developed an early interest in art after moving to Mexico City, where the engravings of José Guadalupe Posada left a lasting impression. His formal training at the Academy of San Carlos refined a visual language that would become synonymous with his name: monumental, expressionistic, and unflinching in its examination of human conflict. Orozco's art delved into human suffering and the political struggles of peasants and workers, reflecting his deep commitment to social causes. A life-altering accident at age twenty-one cost him his left hand but did nothing to diminish his ambition. Over a career that spanned Mexico and the United States, including significant periods in New York and Claremont, California, Orozco created some of the most influential fresco cycles of the twentieth century. His murals for the National Preparatory School in Mexico City and Pomona College remain defining achievements, marked by their dramatic compositions and profound moral urgency. Unlike many contemporaries who celebrated the heroism of the Mexican Revolution, Orozco confronted its human cost, offering a sobering and deeply humanistic counterpoint. Sheet: 9.875" H x 13.5" W Overall generally good appearance. The paper is toned. Pale scattered foxmarks recto with extensive foxmarks verso. The sheet is taped to the overmat with brown tape from the verso of the upper sheet edge. Framed under glass: 14.25" H x 17.5" W x 1.25" D