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Lot Essay
This beautiful landscape by Armando Reverón, La Quebrada de Morrocotudo, was painted in 1919-1920, a period when the artist's predilection for mysterious cool atmospheres and rich coloration achieved its highest expression. Aided by the warmth of the tropics and years of experimentation with the most varied chromatic resources, Reverón's most successful paintings are those characterized by the drama conveyed in paintings such as La Quebrada de Morrocotudo.
Undoubtedly, there existed within the artist, the influence of Goya, Samys Mutzner, Nicolas Ferdinandov, and Emilio Boggio; the latter three, painters whom he met and interchanged opinions with in Venezuela upon his return from Spain where Reverón had studied at the Academia de San Fernando from 1911-1913.
Other masterpieces such as La Cueva (1919), Juanita (1919), and La Procesión de la Virgen en el Valle (1920) serve as testimonies of the profound influence which tradition exerted in Reveron's artistic production of this period. If we were to analyze some details in this magnificent landscape, we would find that despite the depth of its coolness, there exists a carefully constructed technique wherein diverse areas of dark tones cohabit with lighter shades of light pinks, greens, purples, and golden brushstrokes. As stated by Alfredo Boulton, this time was characterized by a "nervous and equally aggressive treatment most apparent in certain details of La Procesión de la Virgen en el Valle, Juanita, Figura bajo un uvero, and La Quebrada de Morrocotudo".
We are grateful to Mr. Oscar Ascanio for his assistance in cataloguing the above lot.
Undoubtedly, there existed within the artist, the influence of Goya, Samys Mutzner, Nicolas Ferdinandov, and Emilio Boggio; the latter three, painters whom he met and interchanged opinions with in Venezuela upon his return from Spain where Reverón had studied at the Academia de San Fernando from 1911-1913.
Other masterpieces such as La Cueva (1919), Juanita (1919), and La Procesión de la Virgen en el Valle (1920) serve as testimonies of the profound influence which tradition exerted in Reveron's artistic production of this period. If we were to analyze some details in this magnificent landscape, we would find that despite the depth of its coolness, there exists a carefully constructed technique wherein diverse areas of dark tones cohabit with lighter shades of light pinks, greens, purples, and golden brushstrokes. As stated by Alfredo Boulton, this time was characterized by a "nervous and equally aggressive treatment most apparent in certain details of La Procesión de la Virgen en el Valle, Juanita, Figura bajo un uvero, and La Quebrada de Morrocotudo".
We are grateful to Mr. Oscar Ascanio for his assistance in cataloguing the above lot.