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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
May 25, 2023 | Morton Casa de Subastas | Mexico City | Subasta de Arte Latinoamericano | 128 | $****** - ****** | Sketch for the top of the staircase of the Presidente Juárez apartment building |
Works on Paper
35.5 x 58 cm (13.98 x 22.83 in)
Graphite pencil and colored pencils on albanene paper
Unsigned
CARLOS MÉRIDA
(Quetzaltenango, Guatemala, 1891 - Mexico City, 1984)
Sketch for the top of the staircase of the Presidente Juárez apartment building, ca. 1951
Unsigned
Graphite pencil and colored pencils on albanene paper
With certificate of opinion from the Galería de Arte Mexicano, August 2017.
MÉRIDA, Carlos. His work in the Juárez apartment building, Movement, Death and Resurrection. ISSSTE, INBA. p. 30.
Exhibited in: "Behind the Scaffolding", an exhibition presented at the Museum of Modern Art in Mexico City, from May 17 to October 9, 2022 -
With a label from the Museum of Modern Art.
Since it is a sketch, it presents normal conservation details due to use.
With the notes:
Staircase 5
Center: death of Ixtlixochitl.
Right: Nezahualcoyotl on the mountain.
Left:
Carlos Mérida, of Guatemalan origin with indigenous Quiché heritage on his father"s side and Spanish on his mother"s, was one of the most important pieces in the opening of art in the 20th century, as well as a choreographer, clothing designer, cartoonist and sculptor.
His work is described as a dance of lines and colors in which innovations are observed at a formal and material level compared to orthodox muralist work. Carlos Mérida differs in the use of fresco and opts for the use of Venetian mosaics or enameled glass plates that are integrated with the architectural space, giving rise to the so-called plastic integration between painting and architecture as seen in the murals made for the multi-family complexes of the architect Mario Pani.
The change of political and aesthetic route with respect to the muralist triad cost him not only his departure at that time, but also his recognition until the moment in which theorists have awakened his revaluation. It should be noted that Carlos Mérida watched over a nationalism with another language, the one acquired in Europe from the artistic avant-gardes that led to the use of geometric abstraction that in turn took inspiration from the Mayan tradition.
Sources consulted: CULLELL, Jon Martín. “To the rescue of Carlos Mérida, the forgotten muralist”. Mexico. El País, Art section, December 14, 2018 and NOELLE, Louise. The murals of Carlos Mérida. Relation of a disaster. Mexico. Annals of the Institute of Aesthetic Research 15 (58), 1987, pp. 125 - 143.
35.5 x 58 cm
