Jesús Escobedo (1918-1978), Untitled, from the "New York Series," 1946, Lithograph on wove paper,
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Description
Jesús Escobedo
(1918-1978)
Untitled, from the "New York Series," 1946
Lithograph on wove paper
Signed and dated in pencil in the lower margin, at right: Jesús Escobedo
Image: 9.25" H x 10" W; Sheet: 12.5" H x 19" W
Provenance: The Collection of Frederick W. Davis
Private Collection, Southern California, by descent from the above
Other Notes: All eight of these works were held in a portfolio by Frederick Davis.
Jesús Escobedo Trejo (1918-1978) emerged as a pivotal figure in Mexico's artistic landscape, renowned for his prowess in drawing and engraving. His artistic odyssey began in El Oro, Mexico, but it was in the vibrant milieu of Mexico City where he honed his craft. Under the tutelage of luminaries like Gabriel Fernández Ledesma and Francisco Díaz de León at the Escuela de Pintura al Aire Libre and the Academy of San Carlos, respectively, Escobedo absorbed the essence of traditional and contemporary artistic techniques.
What distinguished Escobedo was not solely his artistic acumen but also his impassioned dedication to social causes. He became integral to movements like the Liga de Escritores y Artistas Revolucionaries and the Taller de Gráfica Popular, aligning his art with political and societal narratives. His participation in the 1938 Palacio de Bellas Artes collective exhibition, spearheaded by the Comité Nacional Femenino Pro-Pago de la Deuda Petrolera, underscored his commitment to using art as a vehicle for social change.
Beyond gallery walls, Escobedo's canvas extended to the pages of books. His collaborations ranged from illustrating for Mexico's Secretariat of Public Education to partnerships with U.S. publishers, where his artistic ingenuity illuminated various literary works. Notably, his illustrations for the 1946 book "Lecturas Hispanoamericanas" resonated with audiences on both sides of the border, showcasing the universality of his artistic language.
Amidst his diverse portfolio, the pinnacle of Escobedo's international recognition was the creation of eight lithographs capturing the essence of New York City, a project funded by the prestigious Guggenheim Fellowship in 1945.
Tragically, his artistic journey concluded prematurely at the age of 60, leaving behind a legacy that transcends his temporal existence. His final resting place in the San Nicolás Tolentino cemetery in Iztapalapa, Mexico City, stands as a silent homage to an artist whose brushstrokes spoke volumes about social consciousness and the enduring power of art to shape societies.
(1918-1978)
Untitled, from the "New York Series," 1946
Lithograph on wove paper
Signed and dated in pencil in the lower margin, at right: Jesús Escobedo
Image: 9.25" H x 10" W; Sheet: 12.5" H x 19" W
Provenance: The Collection of Frederick W. Davis
Private Collection, Southern California, by descent from the above
Other Notes: All eight of these works were held in a portfolio by Frederick Davis.
Jesús Escobedo Trejo (1918-1978) emerged as a pivotal figure in Mexico's artistic landscape, renowned for his prowess in drawing and engraving. His artistic odyssey began in El Oro, Mexico, but it was in the vibrant milieu of Mexico City where he honed his craft. Under the tutelage of luminaries like Gabriel Fernández Ledesma and Francisco Díaz de León at the Escuela de Pintura al Aire Libre and the Academy of San Carlos, respectively, Escobedo absorbed the essence of traditional and contemporary artistic techniques.
What distinguished Escobedo was not solely his artistic acumen but also his impassioned dedication to social causes. He became integral to movements like the Liga de Escritores y Artistas Revolucionaries and the Taller de Gráfica Popular, aligning his art with political and societal narratives. His participation in the 1938 Palacio de Bellas Artes collective exhibition, spearheaded by the Comité Nacional Femenino Pro-Pago de la Deuda Petrolera, underscored his commitment to using art as a vehicle for social change.
Beyond gallery walls, Escobedo's canvas extended to the pages of books. His collaborations ranged from illustrating for Mexico's Secretariat of Public Education to partnerships with U.S. publishers, where his artistic ingenuity illuminated various literary works. Notably, his illustrations for the 1946 book "Lecturas Hispanoamericanas" resonated with audiences on both sides of the border, showcasing the universality of his artistic language.
Amidst his diverse portfolio, the pinnacle of Escobedo's international recognition was the creation of eight lithographs capturing the essence of New York City, a project funded by the prestigious Guggenheim Fellowship in 1945.
Tragically, his artistic journey concluded prematurely at the age of 60, leaving behind a legacy that transcends his temporal existence. His final resting place in the San Nicolás Tolentino cemetery in Iztapalapa, Mexico City, stands as a silent homage to an artist whose brushstrokes spoke volumes about social consciousness and the enduring power of art to shape societies.
Condition
Overall good condition. The full sheet with deckled edges. A good impression. Traces of printer's ink in the outer margin edges. The sheet is loose, not matted.
Unframed Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction.
Unframed Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction.
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Jesús Escobedo (1918-1978), Untitled, from the "New York Series," 1946, Lithograph on wove paper,
Estimate $800 - $1,200
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Auction Curated By
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Specialist, American Indian Arts
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