Style
Tamayo developed a method which criticizes more the painting rather than just the subject itself. By doing so, he is looking at the painting as a whole and not just the subject. As Tamayo explained this method to Paul Westheim, “As the number of colours we use decreases, the wealth of possibilities increases”. Tamayo was more focused on using single colors rather than using many colors because he believed using fewer colors in a painting gave the art piece a lot more meaning. An example painting that shows Tamayo’s unique color choices is seen in the painting Tres personajes cantando (Three singers), 1981. In this painting, Tamayo uses a lot of pure colors such as, red, purple, etc. The usages of these colors are very strong which defended his belief that the less colors one uses in a painting the more meaning that that painting can have. With that being said, Octavio Paz, author of the book Rufino Tamayo, argues that, “Time and again we have been told that Tamayo is a great colourist; but it should be added that this richness of colour is the result of sobriety”. By being pure, or as Paz explained, sober with his color choice, it gave Tamayo the richness in his paintings.
| “ | "If I could express with a single word what it is that distinguishes Tamayo from other painters, I would say without a moment's hesitation: Sun. For the sun is in all his pictures, whether we see it or not." - Nobel Prize-winning poet Octavio Paz | ” |
Read more about this topic: Rufino Tamayo
Famous quotes containing the word style:
“To me style is just the outside of content, and content the inside of style, like the outside and the inside of the human body—both go together, they can’t be separated.”
—Jean-Luc Godard (b. 1930)
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)
“I am so tired of taking to others
translating my life for the deaf, the blind,
the “I really want to know what your life is like without giving up any of my privileges
to live it” white women
the “I want to live my white life with Third World women’s style and keep my skin
class privileges” dykes”
—Lorraine Bethel, African American lesbian feminist poet. “What Chou Mean We, White Girl?” Lines 49-54 (1979)