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Lot Essay
Although it was the large scale mural format that made Siqueiros one of the most important painters in Latin America, it is in many of his easel paintings that one can see the essence of his work. Removed from the overwhelming context of the mural, his technique becomes clearer and more approachable, his hand becomes visible. Often the political and historical implications of his murals, the mere power of the context, overtake the details. These smaller works were usually done for private collections and though usually not outside of his typical themes- history, the Revolution, the proletariat; they convey something more direct about the artist in technical terms than the murals- which are inescapable of their context and were painted by both the artist and assistants.
Here we see Siqueiros' love of the plastic nature of the pyroxilin paint. He uses the paint in thick heavy layers, catching and mixing colors, almost sculpting the surface of the canvas. In the forties, Siqueiros began to move away from the dark palette of earlier works. Bright colors began to invade the somber tones and shadowy backgrounds without losing any sense of power, in fact the works become stronger , the vibrancy more immediate and direct. Where earlier work is clouded in a weighty solemnity, often illustrating the sad state of the Mexican working class, these brighter works are reactive, confrontational statements not content to be commentary or cerebral. The change to powerful colors signals a much more direct recognition of the potency possible in the mural pieces. The colors become explosive, aggressive and hyper saturated, these are the colors of Revolution, not the sad introspective tones of his thirties work.
Estudio para Caracol is executed with broad powerful brushstrokes. The shell itself is at the very forefront of the canvas in a super close-up. The cropping away of the background makes the shell into a totemic symbol as well pushing it out of the confines of the canvas. The shell is an allover pink that seems to reverberate. Although not in motion the image is almost pulsating in its urgent need to break out of the canvas, a still life full of motion. Weapon, horn, religious symbol, the caracol is articulated with architectonic points and crags, this is not a momento from the beach but a specific valuable object. Here Siqueiros mastery of color is truly evident and his newly applied technique of forcing highly saturated hues to compete is evident. From the inside of the caracol a deep vibrant pink pulsates against the dark greens, browns, and grays swirling in the background. The enforced simplicity of the composition focuses attention on Siqueiros' actual technique, the movement imparted by his brush and the layering and pulling of colors.
Here we see Siqueiros' love of the plastic nature of the pyroxilin paint. He uses the paint in thick heavy layers, catching and mixing colors, almost sculpting the surface of the canvas. In the forties, Siqueiros began to move away from the dark palette of earlier works. Bright colors began to invade the somber tones and shadowy backgrounds without losing any sense of power, in fact the works become stronger , the vibrancy more immediate and direct. Where earlier work is clouded in a weighty solemnity, often illustrating the sad state of the Mexican working class, these brighter works are reactive, confrontational statements not content to be commentary or cerebral. The change to powerful colors signals a much more direct recognition of the potency possible in the mural pieces. The colors become explosive, aggressive and hyper saturated, these are the colors of Revolution, not the sad introspective tones of his thirties work.
Estudio para Caracol is executed with broad powerful brushstrokes. The shell itself is at the very forefront of the canvas in a super close-up. The cropping away of the background makes the shell into a totemic symbol as well pushing it out of the confines of the canvas. The shell is an allover pink that seems to reverberate. Although not in motion the image is almost pulsating in its urgent need to break out of the canvas, a still life full of motion. Weapon, horn, religious symbol, the caracol is articulated with architectonic points and crags, this is not a momento from the beach but a specific valuable object. Here Siqueiros mastery of color is truly evident and his newly applied technique of forcing highly saturated hues to compete is evident. From the inside of the caracol a deep vibrant pink pulsates against the dark greens, browns, and grays swirling in the background. The enforced simplicity of the composition focuses attention on Siqueiros' actual technique, the movement imparted by his brush and the layering and pulling of colors.