Teodulo Romulo / El Risitas Presentado por Mla Gallery

Teodulo ROMULO - El Risitas

Presentado por Mla Gallery

  • Año
    1987
  • Técnica
    Carborundo
  • Dimensión de la imagen
    0,0 x 0,0 cm / 0.0 x 0.0 in
  • Dimensión del papel
    76,0 x 94,0 cm / 29.9 x 37.0 in
  • Tirada
    71/100
  • Precio
    Precio reservado
  • Referencia
    Sin referencia
  • Visita(s)
    2518
  • Estado
Teodulo ROMULO - El Risitas

This gorgeous mixografia is in outstanding condition, and was done on thick, hand made paper. It is very hard to find, and is beautifully framed, with $1,000 worth of framing.

Teodulo Romulo has shown his work worldwide, since the 1970’s. He studied at the prestigious Escuaus Nacional de Artes Plastics San Carlos, in Mexico City, and then on to study at Atelier 17 in Paris, and Escuala Superior de Bellas Artes, in Buenos Aires. He has had over 60 solo shows, and is in the following permanent museum collections:

Museum of Contemporary Art, Chicago, USA

Museo de Arte México en Chicago. I.I.A. México, D.F..

Museo Rufino Tamayo, México, D.F.

Museo de la Estampa, París, Francia.

Museo de la Estampa, Buenos Aires, Argentina.



This print is in excellent condition and is sublime, containing a lot of the iconography that makes this Mexican artist so compelling. We guarantee the authenticity of all our Latin Master printwork, and offer a life time trade policy. Please inquire.



The Remba family has been involved in the art business for three generations. Luis Remba learned the basic printing techniques from his father who owned a commercial printing firm in Mexico City. These skills eventually evolved into the Mixografia® Workshop and gallery where fine art handmade paper prints and sculptures have been produced and published for over 30 years. In 1968, Luis was presented with a special project, to print a portfolio for Mexican artist Pablo O'Higgins, for an exhibition at the Instituto Nacional de Bellas Artes in Mexico City. Due to the high quality of the work and the lack of art printing shops, O'Higgins suggested that the Remba's should start a workshop for fine graphics. With the help of his wife Lea, an open studio was started at the workshop and they soon began publishing lithographs with artists such as David Alfaro Siqueiros, Leonora Carrington and Gunther Gerzso. In the early 1970's, the Rembas approached Rufino Tamayo to produce a series of lithographs. Tamayo was interested, but he made it clear that he was looking for new horizons within the medium - particularly seeking ways to get more volume and texture into his prints. This artistic challenge was the impetus for the invention of the Mixografia® technique.



To accommodate Tamayo's needs, a printing process was developed allowing for the printing of images in relief and with fine surface detail. The technique not only registered the texture and volume of Tamayo's design, but it also granted him the freedom to use any combination of solid materials in its creation. Tamayo was delighted with the process and results, leading to the printing of 80 editions with the artist in over 17 years of collaboration. Due to the inability of commercial paper to withstand the stress of the new three-dimensional printing technique, more resilient handmade paper was also invented. Luis and Lea's son, Shaye, designed and constructed the second generation of papermaking machines in 1982. Since then, Shaye has invented new techniques, enhancing and improving many aspects of the production operations. Today, he oversees all the production at the workshop.



Mixografia prints and Mixocast sculptures have been exhibited at many of the world's most prestigious art institutions including the Staadliche Kunsthalle, Berlin, Palazzo Strozzi, Florence, Hermitage Museum, Leningrad, Instituto de Arte Contemporaneo, Lima, Los Angeles County Museum of Art, Los Angeles, Wight Gallery, University of California, Los Angeles, Centro de Arte Reina Sofia, Madrid, Museo de Arte Moderno, Mexico City, Museo Rufino Tamayo, Mexico City, Museum of Modern Art, New York, Edvard Munch Museum, Oslo, Musée d'Art Moderne, Paris, National Museum of Contemporary Art, Seoul, National Museum of Art, Tokyo, Museo de Bellas Artes de Caracas, Caracas, National Gallery of Victoria, Victoria, Graphische Sammlung Albertina, Vienna and the National Gallery of Art, Washington, D.C.



An excerpt from a review of his work by the famed Mexican author Carlos Fuentes:

Mutaciones eternas

Como La carta robada de Edgar Allan Poe, la pintura de Teódulo Rómulo es una evidencia que es un misterio y un misterio que es una evidencia.



Palimpsesto de varias civilizaciones, la lectura gráfica del artista mexicano aparece como un homenaje más evidente que misterioso a los grandes maestros contemporáneos: es la superimposición menos interesante de su obra, pero acaso no representa sino un engaño indispensable para que levantemos, con la espátula de la mirada, esa primera capa pictórica —Chagall, Picasso— y nos sumerjamos en las sucesivas formaciones gráficas que, en su extremo final, habrán de revelarnos una figuración primaria, inconsciente, original: los trazos primitivos, eternamente grabados sobre la piedra de las cavernas, fugazmente inscritos en la humedad de la arena.



Entre alfa y omega, aparece la verdadera pintura de Rómulo: una paradoja de mutaciones eternas, la primera tierra, la primera bestia, el primer astro, el hombre y la mujer originales, a punto de convertirse en otra cosa, en otros seres: el arte como inminencia formal. Fija en la eternidad de su origen, fluyente en la metamorfosis de sus signos, engañosa en la nueva inmovilidad de su homenaje actual, que no es sino una invitación para recorrer en sentido contrario, como quien remonta un río de colores, el proceso visual que nos devuelve a la roca y a la arena del principio. En esta doble trayectoria, la pintura de Rómulo se revela, al cabo, como un enigma que se basta a sí mismo. Hay poco que decir. Hay mucho que ver. La transformación está a punto de ser muerte: la intervención de la mirada la convierte en un renacimiento intempestivo.

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