Ricardo Martínez (1918-2009)
Ricardo Martínez (1918-2009)
Ricardo Martínez (1918-2009)
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Desnudo azul

Desnudo azul
signed and dated 'Ricardo Martínez, 70' (lower right)
oil on canvas
78 1⁄4 x 43 1⁄4 in. (198.8 x 109.9 cm.)
Painted in 1970.
Margaret Fletcher (acquired from the artist).
The Estate of Dorothy Smith Catherwood.
Anon. sale, Christie's, New York, 29 May 1998, lot 114 (illustrated in color).
Private collection, Santiago, Chile (acquired from the above)
Anon. sale, Christie's, New York, 24 November 2014, lot 23.
Anon. sale, Sotheby's, New York, 20 November 2015, lot 87.
Acquired from the above by the present owner.
A. de Neuvillate-Ortiz, 10 pintores mexicanos, Mexico City, Ediciones Galería de Arte Misrachi, 1974, p. 36.
A. de Neuvillate Ortiz, México, arte moderno, Mexico City, Ediciones Galería de Arte Misrachi, 1976, p. 36.
R. Martínez, Ricardo Martínez una selección de su obra, Mexico City, Joaquín Moritz, 1981, p. 40
Mexico City, Museo de Arte Moderno, Ricardo Martínez - 40 pinturas - Expansión rítmica de los volúmenes, December 1975- January 1975, no. 19
Further details
1 M. A. Muñoz Palos, Ricardo Martínez: la poética de la figura, Mexico: Círculo de Arte, 2001, 12

Brought to you by

Marysol Nieves
Marysol Nieves Vice President, Senior Specialist

Lot Essay

We are grateful to the estate of the artist and the Fundación Ricardo Martínez for their assistance confirming the authenticity of this work.
We are grateful to Dr. Mark Ruben for his assistance cataloguing this work.

I try to offer my image of reality, a metaphoric image, poetic, and at the same time a model of harmonic reality.
--Ricardo Martínez 1
His poetic images of monumental bodies often in solitary silence pay homage to the classical nude. Delicate and almost translucent, Ricardo Martínez’s nudes are but potent figures that embody both earthly and other-worldly qualities. His voluptuous nudes overwhelm the canvases on which they are painted and appear almost sculptural recalling the Olmec and Toltec massive carvings from Mexico’s ancient civilizations. The human figure preoccupied the artist to the end of his days allowing him to render bold depictions of the nude body expressed in strikingly sparse almost abstract compositions. His impossibly precise lines that separate areas of color are also, employed as contour for his forms, and ultimately reveal the artist’s draftsmanship. Martínez’s subtle application of paint leaves no trace on the surface of his elegant compositions which aids in creating an illusion of a singular reality.
Although familiar with all the modernist vanguards and influenced by Surrealism, Martinez adhered to no one school preferring to follow his own path towards a harmonious abstraction in which light, color and line merged to describe both the sensual and spiritual realms.

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