79

Carlos Mérida

(1891-1984, Guatemalan)

"Boceto," 1973

Pencil and colored pencil on tissue-thin paper
Signed in pencil lower left: Carlos Merida, titled and dated on a gallery label affixed to the frame's backing board
Sheet: 17.375" H x 12.625" W

  • Provenance:
    Galeria "Merkup" A.C., De Artistas Plasticos Mexicanos

    Other notes:
    While Carlos Mérida's earliest works were figural, the bulk of his career focused on non-figurative, geometric abstract composition in painting, graphic works, murals, stage design, and tapestry. Mérida's work is celebrated today for the unique visual fusion of elements of European modernism with ancient Mayan and Mexican cultural imagery.

    Mérida was born in Guatemala City to parents of Spanish and Maya-Quiche heritage. From a young age, Mérida was interested in art and music, but due to an issue with his ear at age 15 that caused partial deafness, he refocused his attentions solely on art. After completing middle school, Mérida studied art at two Guatemala City trade schools: the Instituto de Artes y Oficios and the Instituto de Ciencias y Letras.

    From this early period, Mérida integrated into the rich cultural life of artists and intellectuals in Guatemala, while he established himself as an innovative painter. From 1910 to 1914, Mérida was based in Paris and travelled throughout Europe. There he was exposed to the European avant garde including artists Kees Van Dongen, Amedeo Modigliani, Pablo Picasso, and Piet Mondrian, as well as other Latin American artists who were working and studying in Europe, such as Diego Rivera, Jorge Enciso, Angel Zarrage, and Dr. Atl. In Paris, Mérida studied under Hermengildo Anglade y Camarosa and Van Dongen and exhibited at the Salon Indépendant and the Giroux Gallery.

    Mérida returned to Guatemala in 1914. His experiences in Europe altered the artist's perceptions of his native country, particularly the diverse Mayan folkloric history, which he began to incorporate into his work, notably in his use of barkwood paper and geometric symbolism. Mérida had an important exhibition at the Rosenthal Building in Guatemala City in 1915, a show that ushered in the modern painting movement in the country.

    In 1919, Mérida moved to Mexico and participated in Muralism led by Diego Rivera and Rufino Tamayo. In 1920, Mérida had his inaugural Mexican exhibit at the Escuela Nacional de Bellas Artes, and that same year, he exhibited in the United States for the first time at the Hispanic Society of New York. Beginning in this early 1920s period and through the artist's career, Mérida exhibited in more than 50 group and individual exhibitions throughout the world including: Independent Artists Exhibition, New York,1922; solo shows in 1926 at the Academia Nacional de Bellas Artes in Guatemala and the Valentin Dudesing Gallery in New York; with Rufino Tamayo at the Art Center, New York, 1930; at the Mexican Writers Club and Posada Gallery, Mexico City, 1931; the Stendhal Gallery, Los Angeles; East West Gallery, San Francisco; and the 1940 International Surrealist Exhibition, Mexico City. His work was also included in institutional shows throughout the US, such as at Harvard and Berkeley Art Museums, the Art Institute of Chicago, the Dallas Museum of Fine Arts, and the Museum of Fine Arts in Santa Fe.

    While successfully working as an artist, Mérida was also an educator. He was the director of a school in Mexico City dedicated to Indigenous peoples from 1932 to 1934, and he taught drawing at North Texas State Teachers College from 1941 to 1943.
  • Condition: Overall generally good appearance. Pale light-staining and the colors slightly attenuated. A thin 1" band of surface skinning at the center of the work. A pale, pinpoint-sized foxmark near the center of the upper sheet edge. Areas of minor surface soiling scattered in the extreme edges and corners. Minor handling creases scattered throughout. Two stray pinhead-sized orange pigments on the verso, showing through slightly to the recto, near the lower portion of the right edge. The sheet is loose, tipped down from the verso of the upper right corner, and with the three other corners of the loose sheet secured to the back mat with clear archival corners.

    Framed under glass: 22" H x 17" W x 1" D


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