拍品專文
Born in Durango, the son of a renowned medical doctor, Zárraga grew up in Mexico City where he was first educated at the National Preparatory School of San Idelfonso and later at the Academia de San Carlos.
In 1904, like many other aspiring young artists, he set sail for Europe to pursue his artistic studies. He would remain there most of his life only to return to his native Mexico at the outbreak of World War II.
During his early years in Spain, Zárraga created works which reflected the influence of Zuloaga, Sorolla and Chicharro. Like his contemporary and countryman Diego Rivera, Zárraga was deeply impressed by these European masters who left an indelible mark on this period of his oeuvre.
Returning to Paris in 1914, Zárraga began to experiment with Cubism, his first and radical departure from the style for which he had already won a name.
By entering the stern descipline of Cubism, Zárraga subjected himself to a kind of catharsis, leaving behind the formal painting techniques in which he had hitherto expressed himself with great talent. His subjects included women holding baskests of fruit, still-lifes with flowers and musical instruments. Although his treatment was Cubist, his intentions were to remain distanced from the hard-core artists of this period. In Chango Pintor (1916), we see a work created with a touch of wry humor. Is it the artist, one wonders, who like an adventurous monkey, is applying paint to the canvas with careful brushstrokes, one eye on a Cubist style design in the background for inspiration? The accompanying pencil sketch to this delightful composition shows the word "Picasso" written into the design. Perhaps, it was meant as a hint that the pupil is following the master, or a reminder of who inspired him.
By the year 1918 Zárraga abandoned his Cubist experience and turned once more to his distinctive style to which he adhered for the rest of his life.
This painting is accompanied by a pencil study of the subject.
In 1904, like many other aspiring young artists, he set sail for Europe to pursue his artistic studies. He would remain there most of his life only to return to his native Mexico at the outbreak of World War II.
During his early years in Spain, Zárraga created works which reflected the influence of Zuloaga, Sorolla and Chicharro. Like his contemporary and countryman Diego Rivera, Zárraga was deeply impressed by these European masters who left an indelible mark on this period of his oeuvre.
Returning to Paris in 1914, Zárraga began to experiment with Cubism, his first and radical departure from the style for which he had already won a name.
By entering the stern descipline of Cubism, Zárraga subjected himself to a kind of catharsis, leaving behind the formal painting techniques in which he had hitherto expressed himself with great talent. His subjects included women holding baskests of fruit, still-lifes with flowers and musical instruments. Although his treatment was Cubist, his intentions were to remain distanced from the hard-core artists of this period. In Chango Pintor (1916), we see a work created with a touch of wry humor. Is it the artist, one wonders, who like an adventurous monkey, is applying paint to the canvas with careful brushstrokes, one eye on a Cubist style design in the background for inspiration? The accompanying pencil sketch to this delightful composition shows the word "Picasso" written into the design. Perhaps, it was meant as a hint that the pupil is following the master, or a reminder of who inspired him.
By the year 1918 Zárraga abandoned his Cubist experience and turned once more to his distinctive style to which he adhered for the rest of his life.
This painting is accompanied by a pencil study of the subject.