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The Smithsonian Art Museum

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Smithsonian collections reflect the rich diversity of Latino art and artists. The Smithsonian American Art Museum's growing Latinx art collection represents the rich contributions of Latinxs to our country from the colonial period to the present with artworks that range from colonial religious works and woven textiles to abstract expressionist paintings and contemporary installations. Artists featured in the collection reflect the diversity of Latinx communities in the United States, including artists of Mexican, Puerto Rican, Cuban, and Dominican descent, as well as other Latin American groups with deep roots in the United States.

While you explore, enjoy listening to Tradiciones: Latino Music from Smithsonian Folkways.

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Latino Art and Artists | Smithsonian Institution

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Smithsonian collections reflect the rich diversity of Latino art and artists.... Learn more

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This reflects Latinx identity, because of the woman's appearance. Latinx don't all have similar appearance and are a diverse group of people. The clothes she wore is a cultural piece worn by people of that group. This revels how she identifies as a Latin woman.

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Object Details

depicted (sitter)

Kahlo, Frida

Muray, Nickolas

Description (Brief)

A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck.

Recto: Signed and dated by artist (pencil). Verso: Muray label. "Frida Kahlo de Rivera" (red marker). "Painter - wife of Diego Rivera - Friend" (red marker). "1946" (pencil).

Description

Nickolas Muray was born in Szeged, Hungary on February 15, 1892. Twelve years after his birth, Muray left his native town and enrolled in a graphic arts school in Budapest. Enrolling in art school was the first step on a road that would eventually lead him to study a photographic printing process called three-color carbro. In the course of his accomplished career, Muray would become an expert in this process and play a key role in bringing color photography to America.

While attending art school in Budapest, Muray studied lithography and photoengraving, earning an International Engraver's Certificate. Muray was also introduced to photography during this time period. His combined interest in photography and printmaking led him to Berlin, Germany to participate in a three-year color-photoengraving course. In Berlin, Muray learned how to make color filters, a first step in the craft that would one day become his trademark. Immediately after the completion of the course, Muray found a good job with a publishing company in Ullstein, Germany. However, the threat of war in Europe forced Muray to flee for America in 1913. Soon after his arrival in New York, Muray was working as a photoengraver for Condé Nast. His specialty was color separations and half-tone negatives.

By 1920, Muray had established a home for himself in the up-and-coming artists' haven of Greenwich Village. He opened a portrait studio out of his apartment and continued to work part time at his engraving job. Harper's Bazaar magazine gave Muray his first big assignment in 1921. The project was to photograph Broadway star Florence Reed. The magazine was so impressed with his photographs that they began to publish his work monthly. This allowed him to give up his part time job and work solely as a photographer. It did not take long for Muray to become one of the most renowned portrait photographers in Manhattan. Muray spent much of the early 1920s photographing the most famous and important personalities in New York at the time.

In his spare time Muray enjoyed fencing. In 1927, he won the National Sabre Championship and in 1928 and 1932, he was on the United States Olympic Team. During World War II, Muray was a flight lieutenant in the Civil Air Patrol.

Location

Currently not on view

Object Name

photograph

Physical Description

paper (overall material)

Measurements

overall: 50.4 cm x 40.5 cm; 19 13/16 in x 15 15/16 in

See more items in

Work and Industry: Photographic History

Nickolas Muray

Art

Photography

National Museum of American History

GUID (Link to Original Record)

http://n2t.net/ark:/65665/ng49ca746aa-577d-704b-e053-15f76fa0b4fa

# data[].attributes.attachment_link.description
depicted (sitter) Kahlo, Frida Muray, Nickolas Description (Brief) A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck. Recto: Signed and dated by artist (pencil). Verso: Muray label.

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I chose this picture because its kind of a generic picture. The boy and girl are on the roof looking at the sky, while the mother is doing housework which is probably a traditional thing people who are Hispanic do.

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Object Details

Artist

Carmen Lomas Garza, born Kingsville, TX 1948

Exhibition Label

Lomas Garza's folk-styled works document the lives of Mexican Americans and often portray memories of her own family in South Texas. In Camas para Sueños (Beds for Dreams) the artist and her sister sit on their roof dreaming of becoming artists, while their mother below maintains a traditional home. Lomas Garza's deceptively straightforward images offer uncommon glimpses of American daily life as it unfolds in many Chicano communities.

Our America: The Latino Presence in American Art, 2013

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool and the Smithsonian Institution Collections Acquisition Program

Copyright

© 1985, Carmen Lomas Garza

Restrictions & Rights

Usage conditions apply

Medium

gouache on paper

Dimensions

sheet: 28 1/8 x 20 1/2 in. (71.4 x 52.1 cm) sight: 23 x 17 1/2 in. (58.4 x 44.3 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

Smithsonian American Art Museum

Topic

Landscape\celestial\moon

Landscape\time\night

Figure group\female

State of being\phenomenon\dream

Architecture Exterior\domestic\house

Architecture Exterior\domestic\bedroom

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk7d2f52f66-fc04-4639-b12f-0e680c461964

# data[].attributes.attachment_link.description
Artist Carmen Lomas Garza, born Kingsville, TX 1948 Exhibition Label Lomas Garza's folk-styled works document the lives of Mexican Americans and often portray memories of her own family in South Texas. In Camas para Sueños (Beds for Dreams) the artist and her sister sit on their roof dreaming of becoming artists, while their mother below maintains a traditional home.

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I chose this picture because it talks about identity and how you carry yourself. Also about the latinx culture and its good to learn about different things around the world.

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Object Details

depicted (sitter)

Kahlo, Frida

Muray, Nickolas

Description (Brief)

A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck.

Recto: Signed and dated by artist (pencil). Verso: Muray label. "Frida Kahlo de Rivera" (red marker). "Painter - wife of Diego Rivera - Friend" (red marker). "1946" (pencil).

Description

Nickolas Muray was born in Szeged, Hungary on February 15, 1892. Twelve years after his birth, Muray left his native town and enrolled in a graphic arts school in Budapest. Enrolling in art school was the first step on a road that would eventually lead him to study a photographic printing process called three-color carbro. In the course of his accomplished career, Muray would become an expert in this process and play a key role in bringing color photography to America.

While attending art school in Budapest, Muray studied lithography and photoengraving, earning an International Engraver's Certificate. Muray was also introduced to photography during this time period. His combined interest in photography and printmaking led him to Berlin, Germany to participate in a three-year color-photoengraving course. In Berlin, Muray learned how to make color filters, a first step in the craft that would one day become his trademark. Immediately after the completion of the course, Muray found a good job with a publishing company in Ullstein, Germany. However, the threat of war in Europe forced Muray to flee for America in 1913. Soon after his arrival in New York, Muray was working as a photoengraver for Condé Nast. His specialty was color separations and half-tone negatives.

By 1920, Muray had established a home for himself in the up-and-coming artists' haven of Greenwich Village. He opened a portrait studio out of his apartment and continued to work part time at his engraving job. Harper's Bazaar magazine gave Muray his first big assignment in 1921. The project was to photograph Broadway star Florence Reed. The magazine was so impressed with his photographs that they began to publish his work monthly. This allowed him to give up his part time job and work solely as a photographer. It did not take long for Muray to become one of the most renowned portrait photographers in Manhattan. Muray spent much of the early 1920s photographing the most famous and important personalities in New York at the time.

In his spare time Muray enjoyed fencing. In 1927, he won the National Sabre Championship and in 1928 and 1932, he was on the United States Olympic Team. During World War II, Muray was a flight lieutenant in the Civil Air Patrol.

Location

Currently not on view

Object Name

photograph

Physical Description

paper (overall material)

Measurements

overall: 50.4 cm x 40.5 cm; 19 13/16 in x 15 15/16 in

See more items in

Work and Industry: Photographic History

Nickolas Muray

Art

Photography

National Museum of American History

GUID (Link to Original Record)

http://n2t.net/ark:/65665/ng49ca746aa-577d-704b-e053-15f76fa0b4fa

# data[].attributes.attachment_link.description
depicted (sitter) Kahlo, Frida Muray, Nickolas Description (Brief) A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck. Recto: Signed and dated by artist (pencil). Verso: Muray label.

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The dog is turning the corner. You dont know what is behind the corner. Its all imagination. Its thought of wonder behind the bright yellow walls.

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i chose this painting because it was just very interesting to look like it has so much going on and i kinda like art like that art that has alot of meaning

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I chose this picture because it looks like the white house to me and I can connect it to the current events today. I think this painting is very relvant to politics today with everything going on with the presidential debate. I think this reflects Latinx Identity because if you think about it they are not really supported by the president at all. The president has a hard time excepting them.

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this one in particular piqued my interest because of the color choice. ana mendieta created this in 1985. it seems that things made of wood were set on fire making the night sky light up like a firework. the contrast of the blue sky and the red smoke looks dope. as i read it was said that she made this as a reference to time.

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I chose this work because it was interesting and I felt like it showed comfort, peace and dreams. I think how it reflects Latinx identity by the person working portrays hard work, and the people looking into the moonlit sky shows peace and dreams.

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Object Details

Artist

Carmen Lomas Garza, born Kingsville, TX 1948

Exhibition Label

Lomas Garza's folk-styled works document the lives of Mexican Americans and often portray memories of her own family in South Texas. In Camas para Sueños (Beds for Dreams) the artist and her sister sit on their roof dreaming of becoming artists, while their mother below maintains a traditional home. Lomas Garza's deceptively straightforward images offer uncommon glimpses of American daily life as it unfolds in many Chicano communities.

Our America: The Latino Presence in American Art, 2013

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool and the Smithsonian Institution Collections Acquisition Program

Copyright

© 1985, Carmen Lomas Garza

Restrictions & Rights

Usage conditions apply

Medium

gouache on paper

Dimensions

sheet: 28 1/8 x 20 1/2 in. (71.4 x 52.1 cm) sight: 23 x 17 1/2 in. (58.4 x 44.3 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

Smithsonian American Art Museum

Topic

Landscape\celestial\moon

Landscape\time\night

Figure group\female

State of being\phenomenon\dream

Architecture Exterior\domestic\house

Architecture Exterior\domestic\bedroom

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk7d2f52f66-fc04-4639-b12f-0e680c461964

# data[].attributes.attachment_link.description
Artist Carmen Lomas Garza, born Kingsville, TX 1948 Exhibition Label Lomas Garza's folk-styled works document the lives of Mexican Americans and often portray memories of her own family in South Texas. In Camas para Sueños (Beds for Dreams) the artist and her sister sit on their roof dreaming of becoming artists, while their mother below maintains a traditional home.

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I chose this picture because the name represents how the English and Spanish culture mixes a lot

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Object Details

Artist

Pepón Osorio, born Santurce, Puerto Rico 1955

Gallery Label

Osorio created El Chandelier for a performance piece that explored the life of a Puerto Rican woman living in New York. The fixture is encrusted with doll babies, toy bowling pins, palm trees, plastic animals, and sculptures of saints-the cheap, brightly colored decorations called chucherías that appear in "Nuyorican" households.

El Chandelier is dazzling and light hearted, but the illusion of abundance masks the realities of life in poor urban communities. Osorio saw this kind of making-do aesthetic-creating something wonderful out of nothing-in the apartments he visited when he worked as a social worker. El Chandelier, with its mixed Spanish and English title, suggests the lives of people who find themselves moving between two cultures, making a feast for the eye as a compensation.

Exhibition Label, Smithsonian American Art Museum, 2011

Exhibition Label

When Osorio worked as a social worker in New York City he often saw elaborate chandeliers hanging in humble apartment homes. This experience led him to appreciate the meaning behind buying tchotchkes and expensive-looking objects. The plastic palm trees, coquis (iconic Puerto Rican frogs), dominos, and tassels that adorn his light source suggest coping mechanisms in the face of adversity and migration. Sculptures of Catholic saints and variously complexioned dolls reference Afro-Caribbean spiritual systems and racial hierarchies. Spanish and English mingle in the work's title, conjuring a space between cultures and realities.

Our America: The Latino Presence in American Art, 2013

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool and the Smithsonian Institution Collections Acquisition Program

Copyright

© 1988, Pepón Osorio

Restrictions & Rights

Usage conditions apply

Type

Decorative Arts-Furniture

Medium

functional metal and glass chandelier with plastic toys and figurines, glass crystals, and other objects

Dimensions

60 7/8 x 42 in. (154.6 x 106.7 cm) diam.

See more items in

Smithsonian American Art Museum Collection

Department

Decorative Arts

Smithsonian American Art Museum

Topic

Object\toy\doll

Object\furniture\lamp

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk7dd488741-820f-4f0e-b7b7-0cfcc8673e3e

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Artist Pepón Osorio, born Santurce, Puerto Rico 1955 Gallery Label Osorio created El Chandelier for a performance piece that explored the life of a Puerto Rican woman living in New York. The fixture is encrusted with doll babies, toy bowling pins, palm trees, plastic animals, and sculptures of saints-the cheap, brightly colored decorations called chucherías that appear in "Nuyorican" households.

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I chose this art work because it looked like fire and I love fire. Ana Mendieta used fireworks to make her art, it connects to latinx identity because one of her artworks were inspired by goddesses and rituals in Columbian and catholic culture.

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Object Details

Artist

Ana Mendieta, born Havana, Cuba 1948-died New York City 1985

Gallery Label

For these works, Mendieta used fireworks to set wooden effigies of her outline ablaze in a clearing in Oaxaca, Mexico. The flames light up the night sky, asserting her presence and power, before the figures collapse into a pile of ash. Leaving only photographic and film evidence behind, this feminist approach to earth art acknowledges human transience in the face of ecological time.

Using her body and natural materials, Mendieta created unforgettable yet fleeting interventions in sites from Iowa to Mexico to Cuba. Her best known series, Silueta, depicts her nude body or traced silhouette in natural environments, evoking ancient goddesses, fertility symbols and rituals borrowed from Catholicism, Caribbean santería, and pre-Columbian indigenous cultures around the world. Mendieta came to the United States in 1961 as part of wave of unaccompanied child refugees transported from Cuba by the Catholic Church. Mendieta spent her high school, college, and graduate school years in Iowa and her art continually addresses dislocation from and reconnection to the land.

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool and the Smithsonian Institution Collections Acquisition Program

Copyright

© 1976, Estate of Ana Mendieta

Object number

1995.54.1.2

Restrictions & Rights

Usage conditions apply

Type

Photography-Photoprint

Medium

chromogenic print

Dimensions

sheet, image and mount: 13 1/2 x 20 in. (34.3 x 50.8 cm.)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

On View

Smithsonian American Art Museum, 3rd Floor, North Wing

Smithsonian American Art Museum

Topic

Figure

Modern art movement\performance

Landscape\Mexico\Oaxaca

Modern art movement\installation exterior\Mexico

Record ID

saam_1995.54.1.2

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk741c73575-b657-4280-98b5-c32f01219d11

# data[].attributes.attachment_link.description
Artist Ana Mendieta, born Havana, Cuba 1948-died New York City 1985 Gallery Label For these works, Mendieta used fireworks to set wooden effigies of her outline ablaze in a clearing in Oaxaca, Mexico. The flames light up the night sky, asserting her presence and power, before the figures collapse into a pile of ash.

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I chose this picture because it tells a whole story about the person who took this photo and how they got to this point. It also shows a good example of Latinx identity and the reason behind this photograph. Tis picture relates to Latinx identity from it showing Latinx culture and lifestyle.

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Object Details

depicted (sitter)

Kahlo, Frida

Muray, Nickolas

Description (Brief)

A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck.

Recto: Signed and dated by artist (pencil). Verso: Muray label. "Frida Kahlo de Rivera" (red marker). "Painter - wife of Diego Rivera - Friend" (red marker). "1946" (pencil).

Description

Nickolas Muray was born in Szeged, Hungary on February 15, 1892. Twelve years after his birth, Muray left his native town and enrolled in a graphic arts school in Budapest. Enrolling in art school was the first step on a road that would eventually lead him to study a photographic printing process called three-color carbro. In the course of his accomplished career, Muray would become an expert in this process and play a key role in bringing color photography to America.

While attending art school in Budapest, Muray studied lithography and photoengraving, earning an International Engraver's Certificate. Muray was also introduced to photography during this time period. His combined interest in photography and printmaking led him to Berlin, Germany to participate in a three-year color-photoengraving course. In Berlin, Muray learned how to make color filters, a first step in the craft that would one day become his trademark. Immediately after the completion of the course, Muray found a good job with a publishing company in Ullstein, Germany. However, the threat of war in Europe forced Muray to flee for America in 1913. Soon after his arrival in New York, Muray was working as a photoengraver for Condé Nast. His specialty was color separations and half-tone negatives.

By 1920, Muray had established a home for himself in the up-and-coming artists' haven of Greenwich Village. He opened a portrait studio out of his apartment and continued to work part time at his engraving job. Harper's Bazaar magazine gave Muray his first big assignment in 1921. The project was to photograph Broadway star Florence Reed. The magazine was so impressed with his photographs that they began to publish his work monthly. This allowed him to give up his part time job and work solely as a photographer. It did not take long for Muray to become one of the most renowned portrait photographers in Manhattan. Muray spent much of the early 1920s photographing the most famous and important personalities in New York at the time.

In his spare time Muray enjoyed fencing. In 1927, he won the National Sabre Championship and in 1928 and 1932, he was on the United States Olympic Team. During World War II, Muray was a flight lieutenant in the Civil Air Patrol.

Location

Currently not on view

Object Name

photograph

Physical Description

paper (overall material)

Measurements

overall: 50.4 cm x 40.5 cm; 19 13/16 in x 15 15/16 in

See more items in

Work and Industry: Photographic History

Nickolas Muray

Art

Photography

National Museum of American History

GUID (Link to Original Record)

http://n2t.net/ark:/65665/ng49ca746aa-577d-704b-e053-15f76fa0b4fa

# data[].attributes.attachment_link.description
depicted (sitter) Kahlo, Frida Muray, Nickolas Description (Brief) A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck. Recto: Signed and dated by artist (pencil). Verso: Muray label.

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I chose this picture because it just stood out to me. Like all the colors and just the way it looked caught my eye. The artist stated that this piece explored the the life of a Puerto Rican woman living in New York. I feel like this just relates to how it is probably hard for them as well. The artist also stated that the illusion shows life of poor urban communities. Which shows how they made something out of nothing. I also believe that this shows how busy it is in New York and for people with different lifestyles it could be hard. https://www.google.com/url?sa=i&url=https%3A%2F%2Famericanart.si.edu%2Fartwork%2Fel-chandelier-34558&psig=AOvVaw3CIqkW9_8o6VcqNtuy_m59&ust=1602003660270000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCLCSr-v2newCFQAAAAAdAAAAABAD

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This piece of art represents Jean-Mitchel Basquiat and his journey of growing up poor to becoming a artists while being black. It shows that no matter how much black people are neglected and dehumanized, no one can ever take away their art. He also never changed to be white. He always remained his true self no matter what.

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I chose this picture because it brings back a lot of memories. When i was younger the store was like a place full of gold with all the chips, candy and food they made.

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Object Details

Artist

Emilio Sánchez, born Camagüey, Cuba 1921-died Warwick, NY 1999

Exhibition Label

In the 1980s, Sánchez turned to the urban landscape of New York, where commercial establishments like bodegas (corner stores) evoked places and people from the Caribbean. La Rumba Supermarket is named after a signature Cuban rhythm that became internationalized after the 1930s. The brightly hued structure reflects the color palette of Caribbean domestic architecture and suggests the ways Latino culture transformed the appearance and "language" of this major American metropolis

Our America: The Latino Presence in American Art, 2013

Credit Line

Smithsonian American Art Museum, Gift of the Emilio Sanchez Foundation

Copyright

© Emilio Sanchez Foundation

Restrictions & Rights

Usage conditions apply

Medium

watercolor on paper

Dimensions

sheet and image: 40 x 59 1/2 in. (101.6 x 151.1 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

Smithsonian American Art Museum

Topic

Cityscape\New York\Bronx

Architecture Exterior\commercial\store

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk7af852fdc-a064-4a39-ba17-181f2362854c

# data[].attributes.attachment_link.title
Untitled, Bronx Storefront, "La Rumba Supermarket"

# data[].attributes.attachment_link.description
Artist Emilio Sánchez, born Camagüey, Cuba 1921-died Warwick, NY 1999 Exhibition Label In the 1980s, Sánchez turned to the urban landscape of New York, where commercial establishments like bodegas (corner stores) evoked places and people from the Caribbean. La Rumba Supermarket is named after a signature Cuban rhythm that became internationalized after the 1930s.

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I chose this work of art because I saw how it looked similar to the actual Statue of Liberty and I like how it is altered to the LatinX community. The description of this art states that it is supposed to be a symbol of freedom and uses found objects to symbolize the tradition of making everyday personal objects meaningful to people in the Latin American community. I admire this because it shows how they took something and made it their own and give it its own new meaning.

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The Things That Interest Me Is The Fact That She Makes Good Art.She Uses Her Body And Natural Materials To Create Her Art.She Also Has A Really Creative Mindset Like The Picture In Her First Picture When You Press Her Link.

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Object Details

Artist

Ana Mendieta, born Havana, Cuba 1948-died New York City 1985

Gallery Label

For these works, Mendieta used fireworks to set wooden effigies of her outline ablaze in a clearing in Oaxaca, Mexico. The flames light up the night sky, asserting her presence and power, before the figures collapse into a pile of ash. Leaving only photographic and film evidence behind, this feminist approach to earth art acknowledges human transience in the face of ecological time.

Using her body and natural materials, Mendieta created unforgettable yet fleeting interventions in sites from Iowa to Mexico to Cuba. Her best known series, Silueta, depicts her nude body or traced silhouette in natural environments, evoking ancient goddesses, fertility symbols and rituals borrowed from Catholicism, Caribbean santería, and pre-Columbian indigenous cultures around the world. Mendieta came to the United States in 1961 as part of wave of unaccompanied child refugees transported from Cuba by the Catholic Church. Mendieta spent her high school, college, and graduate school years in Iowa and her art continually addresses dislocation from and reconnection to the land.

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool and the Smithsonian Institution Collections Acquisition Program

Copyright

© 1976, Estate of Ana Mendieta

Object number

1995.54.1.2

Restrictions & Rights

Usage conditions apply

Type

Photography-Photoprint

Medium

chromogenic print

Dimensions

sheet, image and mount: 13 1/2 x 20 in. (34.3 x 50.8 cm.)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

On View

Smithsonian American Art Museum, 3rd Floor, North Wing

Smithsonian American Art Museum

Topic

Figure

Modern art movement\performance

Landscape\Mexico\Oaxaca

Modern art movement\installation exterior\Mexico

Record ID

saam_1995.54.1.2

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk741c73575-b657-4280-98b5-c32f01219d11

# data[].attributes.attachment_link.description
Artist Ana Mendieta, born Havana, Cuba 1948-died New York City 1985 Gallery Label For these works, Mendieta used fireworks to set wooden effigies of her outline ablaze in a clearing in Oaxaca, Mexico. The flames light up the night sky, asserting her presence and power, before the figures collapse into a pile of ash.

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I chose this picture because it stood out to me. All the colors and just the way it looked was nice. The artists of this work started that this piece is supposed to represent the life a Puerto Rican woman living in New York. They also stated that this shows the realities of poor urban communities. This artist created something out of nothing. Which could represent how life is for different minorities and how people have to live differently. Also New York is a chaotic place to live so the art could go with the chaos of what people who live there go through. El Chandelier | Smithsonian American Art Museum

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Object Details

depicted (sitter)

Kahlo, Frida

Muray, Nickolas

Description (Brief)

A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck.

Recto: Signed and dated by artist (pencil). Verso: Muray label. "Frida Kahlo de Rivera" (red marker). "Painter - wife of Diego Rivera - Friend" (red marker). "1946" (pencil).

Description

Nickolas Muray was born in Szeged, Hungary on February 15, 1892. Twelve years after his birth, Muray left his native town and enrolled in a graphic arts school in Budapest. Enrolling in art school was the first step on a road that would eventually lead him to study a photographic printing process called three-color carbro. In the course of his accomplished career, Muray would become an expert in this process and play a key role in bringing color photography to America.

While attending art school in Budapest, Muray studied lithography and photoengraving, earning an International Engraver's Certificate. Muray was also introduced to photography during this time period. His combined interest in photography and printmaking led him to Berlin, Germany to participate in a three-year color-photoengraving course. In Berlin, Muray learned how to make color filters, a first step in the craft that would one day become his trademark. Immediately after the completion of the course, Muray found a good job with a publishing company in Ullstein, Germany. However, the threat of war in Europe forced Muray to flee for America in 1913. Soon after his arrival in New York, Muray was working as a photoengraver for Condé Nast. His specialty was color separations and half-tone negatives.

By 1920, Muray had established a home for himself in the up-and-coming artists' haven of Greenwich Village. He opened a portrait studio out of his apartment and continued to work part time at his engraving job. Harper's Bazaar magazine gave Muray his first big assignment in 1921. The project was to photograph Broadway star Florence Reed. The magazine was so impressed with his photographs that they began to publish his work monthly. This allowed him to give up his part time job and work solely as a photographer. It did not take long for Muray to become one of the most renowned portrait photographers in Manhattan. Muray spent much of the early 1920s photographing the most famous and important personalities in New York at the time.

In his spare time Muray enjoyed fencing. In 1927, he won the National Sabre Championship and in 1928 and 1932, he was on the United States Olympic Team. During World War II, Muray was a flight lieutenant in the Civil Air Patrol.

Location

Currently not on view

Object Name

photograph

Physical Description

paper (overall material)

Measurements

overall: 50.4 cm x 40.5 cm; 19 13/16 in x 15 15/16 in

See more items in

Work and Industry: Photographic History

Nickolas Muray

Art

Photography

National Museum of American History

GUID (Link to Original Record)

http://n2t.net/ark:/65665/ng49ca746aa-577d-704b-e053-15f76fa0b4fa

# data[].attributes.attachment_link.description
depicted (sitter) Kahlo, Frida Muray, Nickolas Description (Brief) A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck. Recto: Signed and dated by artist (pencil). Verso: Muray label.

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This interested me because it looked like something was on fire and it caught my attention.It seem that things made out of wood was normally set on fire.I like the fact how the smoked mixed with the dark blue sky was raw and creative.This picture stands for time.Maybe like dont waste time.

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Object Details

Artist

Ana Mendieta, born Havana, Cuba 1948-died New York City 1985

Gallery Label

For these works, Mendieta used fireworks to set wooden effigies of her outline ablaze in a clearing in Oaxaca, Mexico. The flames light up the night sky, asserting her presence and power, before the figures collapse into a pile of ash. Leaving only photographic and film evidence behind, this feminist approach to earth art acknowledges human transience in the face of ecological time.

Using her body and natural materials, Mendieta created unforgettable yet fleeting interventions in sites from Iowa to Mexico to Cuba. Her best known series, Silueta, depicts her nude body or traced silhouette in natural environments, evoking ancient goddesses, fertility symbols and rituals borrowed from Catholicism, Caribbean santería, and pre-Columbian indigenous cultures around the world. Mendieta came to the United States in 1961 as part of wave of unaccompanied child refugees transported from Cuba by the Catholic Church. Mendieta spent her high school, college, and graduate school years in Iowa and her art continually addresses dislocation from and reconnection to the land.

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool and the Smithsonian Institution Collections Acquisition Program

Copyright

© 1976, Estate of Ana Mendieta

Object number

1995.54.1.2

Restrictions & Rights

Usage conditions apply

Type

Photography-Photoprint

Medium

chromogenic print

Dimensions

sheet, image and mount: 13 1/2 x 20 in. (34.3 x 50.8 cm.)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

On View

Smithsonian American Art Museum, 3rd Floor, North Wing

Smithsonian American Art Museum

Topic

Figure

Modern art movement\performance

Landscape\Mexico\Oaxaca

Modern art movement\installation exterior\Mexico

Record ID

saam_1995.54.1.2

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk741c73575-b657-4280-98b5-c32f01219d11

# data[].attributes.attachment_link.description
Artist Ana Mendieta, born Havana, Cuba 1948-died New York City 1985 Gallery Label For these works, Mendieta used fireworks to set wooden effigies of her outline ablaze in a clearing in Oaxaca, Mexico. The flames light up the night sky, asserting her presence and power, before the figures collapse into a pile of ash.

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I chose to look at the piece

"Radiante" because at first I thought that it was simple. But normally their is meaning behind art and I could not depict what the meaning of it may have been. So I wanted to take a deeper look and skim through what it could mean or represent. Apparently its supposed to conjure a mood or temperature and the artist work has been on jazz covers.

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Object Details

Artist

Olga Albizu, born Ponce, Puerto Rico 1924-died New York, NY 2005

Gallery Label

In Radiante, Olda Albizu rhythmically applied large blocks of yellow, orange, and black paint against a vibrant background to orchestrate what she called "a conversation between color and form." The result is a joyous work that bathes the viewer in light. Like most of Albizu's canvases, Radiante conjures a mood -- or a temperature -- rather than a specific time or place. Albizu was associated with vanguard currents in Puerto Rican art that favored abstraction over figuration and nationalist-inflected themes. After graduating from university, she studied painting in New York, Paris, and Florence before returning to and settling in New York for good in 1946. There, her work became increasingly aligned with abstract expressionism at a time when this movement was defining New York as a new global art center.

Exhibition Label

In Radiante, Albizu rhythmically applied large blocks of pigment against a yellow background to orchestrate what she called "a conversation between color and form." Her vivid palette conveys that, like other abstract expressionists, she believed in the emotive power of color. Albizu's works are recognized worldwide because her canvases graced the covers of several RCA and Verve jazz albums, including the bossa nova classic Getz/Gilberto (1964). One of the first Puerto Rican artists to embrace abstraction, Albizu studied with painter Esteban Vicente before moving to New York City. There she became a student of Hans Hofmann, the German émigré artist who had a decisive impact on midcentury American art.

Our America: The Latino Presence in American Art, 2013

Publication Label

The Latino Art Collection at the Smithsonian American Art Museum represents a deep and continuing commitment to building a great national collection reflecting the rich contributions of Latinos to the United States, from the colonial period to the present. These artworks present a picture of an evolving national culture that challenges expectations of what is meant by the words American and Latino.

Smithsonian American Art Museum: Commemorative Guide. Nashville, TN: Beckon Books, 2015.

Credit Line

Smithsonian American Art Museum, Gift of JPMorgan Chase

Restrictions & Rights

Usage conditions apply

Medium

oil on canvas

Dimensions

68 x 62 in. (172.7 x 157.5 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Painting and Sculpture

Smithsonian American Art Museum

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk7e2b65cc5-158f-4855-be75-a1085f8d23b0

# data[].attributes.attachment_link.description
Artist Olga Albizu, born Ponce, Puerto Rico 1924-died New York, NY 2005 Gallery Label In Radiante, Olda Albizu rhythmically applied large blocks of yellow, orange, and black paint against a vibrant background to orchestrate what she called "a conversation between color and form." The result is a joyous work that bathes the viewer in light.

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I choose this image because whenever you go to an Mexican neighborhood you see stores similar to this one. I see this type of stores like this only in the Latino community. This connects to Latnix Identity because this is a part of them they way the stores are designed and how they look.m

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Object Details

Artist

Emilio Sánchez, born Camagüey, Cuba 1921-died Warwick, NY 1999

Exhibition Label

In the 1980s, Sánchez turned to the urban landscape of New York, where commercial establishments like bodegas (corner stores) evoked places and people from the Caribbean. La Rumba Supermarket is named after a signature Cuban rhythm that became internationalized after the 1930s. The brightly hued structure reflects the color palette of Caribbean domestic architecture and suggests the ways Latino culture transformed the appearance and "language" of this major American metropolis

Our America: The Latino Presence in American Art, 2013

Credit Line

Smithsonian American Art Museum, Gift of the Emilio Sanchez Foundation

Copyright

© Emilio Sanchez Foundation

Restrictions & Rights

Usage conditions apply

Medium

watercolor on paper

Dimensions

sheet and image: 40 x 59 1/2 in. (101.6 x 151.1 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

Smithsonian American Art Museum

Topic

Cityscape\New York\Bronx

Architecture Exterior\commercial\store

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk7af852fdc-a064-4a39-ba17-181f2362854c

# data[].attributes.attachment_link.title
Untitled, Bronx Storefront, "La Rumba Supermarket"

# data[].attributes.attachment_link.description
Artist Emilio Sánchez, born Camagüey, Cuba 1921-died Warwick, NY 1999 Exhibition Label In the 1980s, Sánchez turned to the urban landscape of New York, where commercial establishments like bodegas (corner stores) evoked places and people from the Caribbean. La Rumba Supermarket is named after a signature Cuban rhythm that became internationalized after the 1930s.

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this looked interesting to me because it looked like someone was on fire. this was supposed to assert the artists power and presence. this was said to have a feminist approach.

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Object Details

Artist

Ana Mendieta, born Havana, Cuba 1948-died New York City 1985

Gallery Label

For these works, Mendieta used fireworks to set wooden effigies of her outline ablaze in a clearing in Oaxaca, Mexico. The flames light up the night sky, asserting her presence and power, before the figures collapse into a pile of ash. Leaving only photographic and film evidence behind, this feminist approach to earth art acknowledges human transience in the face of ecological time.

Using her body and natural materials, Mendieta created unforgettable yet fleeting interventions in sites from Iowa to Mexico to Cuba. Her best known series, Silueta, depicts her nude body or traced silhouette in natural environments, evoking ancient goddesses, fertility symbols and rituals borrowed from Catholicism, Caribbean santería, and pre-Columbian indigenous cultures around the world. Mendieta came to the United States in 1961 as part of wave of unaccompanied child refugees transported from Cuba by the Catholic Church. Mendieta spent her high school, college, and graduate school years in Iowa and her art continually addresses dislocation from and reconnection to the land.

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool and the Smithsonian Institution Collections Acquisition Program

Copyright

© 1976, Estate of Ana Mendieta

Object number

1995.54.1.2

Restrictions & Rights

Usage conditions apply

Type

Photography-Photoprint

Medium

chromogenic print

Dimensions

sheet, image and mount: 13 1/2 x 20 in. (34.3 x 50.8 cm.)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

On View

Smithsonian American Art Museum, 3rd Floor, North Wing

Smithsonian American Art Museum

Topic

Figure

Modern art movement\performance

Landscape\Mexico\Oaxaca

Modern art movement\installation exterior\Mexico

Record ID

saam_1995.54.1.2

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk741c73575-b657-4280-98b5-c32f01219d11

# data[].attributes.attachment_link.description
Artist Ana Mendieta, born Havana, Cuba 1948-died New York City 1985 Gallery Label For these works, Mendieta used fireworks to set wooden effigies of her outline ablaze in a clearing in Oaxaca, Mexico. The flames light up the night sky, asserting her presence and power, before the figures collapse into a pile of ash.

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This image stood out to me because a white picket fence symbolizes peaceful/comfortable living in America. I interpreted the change of the fence into a cage-esque fashion as the barriers thousands of immigrants have to endure trying to create a better life in America. Perhaps the change of color from white to yellow symbolizes caution, or maybe a false sense of hope and happiness only to find that there's no way to get past.

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Object Details

Artist

Emilio Sanchez, American, b. Camagüey, Cuba, 1921-1999

Credit Line

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, The Joseph H. Hirshhorn Bequest, 1981

Accession Number

86.4121

Medium

Watercolor and graphite pencil on paper

Dimensions

sheet: 21 15/16 × 30 1/8 in. (55.7 × 76.5 cm)

See more items in

Hirshhorn Museum and Sculpture Garden Collection

Hirshhorn Museum and Sculpture Garden

GUID (Link to Original Record)

http://n2t.net/ark:/65665/py212ff88d2-367b-4bda-85ed-d25f0a3c5042

# data[].attributes.attachment_link.description
Artist Emilio Sanchez, American, b. Camagüey, Cuba, 1921-1999 Credit Line Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, The Joseph H. Hirshhorn Bequest, 1981 Accession Number 86.4121 Medium Watercolor and graphite pencil on paper Dimensions sheet: 21 15/16 × 30 1/8 in.

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I chose this work because the art attracted me and I was curious as to what this store they painted represented. It reflects Latinx Identity because the color palette of Caribbean domestic architecture and suggests the ways Latino culture transformed the appearance and “language” of this major American metropolis

# data[].attributes.attachment_link.readable_text
Object Details

Artist

Emilio Sánchez, born Camagüey, Cuba 1921-died Warwick, NY 1999

Exhibition Label

In the 1980s, Sánchez turned to the urban landscape of New York, where commercial establishments like bodegas (corner stores) evoked places and people from the Caribbean. La Rumba Supermarket is named after a signature Cuban rhythm that became internationalized after the 1930s. The brightly hued structure reflects the color palette of Caribbean domestic architecture and suggests the ways Latino culture transformed the appearance and "language" of this major American metropolis

Our America: The Latino Presence in American Art, 2013

Credit Line

Smithsonian American Art Museum, Gift of the Emilio Sanchez Foundation

Copyright

© Emilio Sanchez Foundation

Restrictions & Rights

Usage conditions apply

Medium

watercolor on paper

Dimensions

sheet and image: 40 x 59 1/2 in. (101.6 x 151.1 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

Smithsonian American Art Museum

Topic

Cityscape\New York\Bronx

Architecture Exterior\commercial\store

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk7af852fdc-a064-4a39-ba17-181f2362854c

# data[].attributes.attachment_link.title
Untitled, Bronx Storefront, "La Rumba Supermarket"

# data[].attributes.attachment_link.description
Artist Emilio Sánchez, born Camagüey, Cuba 1921-died Warwick, NY 1999 Exhibition Label In the 1980s, Sánchez turned to the urban landscape of New York, where commercial establishments like bodegas (corner stores) evoked places and people from the Caribbean. La Rumba Supermarket is named after a signature Cuban rhythm that became internationalized after the 1930s.

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This image interested me because it's an image of Frida Kahlo, a powerful and influential artist who often painted using themes such as self awareness. identity, and the human body. It reflects the lantinx communtity because it's important for poc to be confident in their heritage and even their features.

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Object Details

depicted (sitter)

Kahlo, Frida

Muray, Nickolas

Description (Brief)

A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck.

Recto: Signed and dated by artist (pencil). Verso: Muray label. "Frida Kahlo de Rivera" (red marker). "Painter - wife of Diego Rivera - Friend" (red marker). "1946" (pencil).

Description

Nickolas Muray was born in Szeged, Hungary on February 15, 1892. Twelve years after his birth, Muray left his native town and enrolled in a graphic arts school in Budapest. Enrolling in art school was the first step on a road that would eventually lead him to study a photographic printing process called three-color carbro. In the course of his accomplished career, Muray would become an expert in this process and play a key role in bringing color photography to America.

While attending art school in Budapest, Muray studied lithography and photoengraving, earning an International Engraver's Certificate. Muray was also introduced to photography during this time period. His combined interest in photography and printmaking led him to Berlin, Germany to participate in a three-year color-photoengraving course. In Berlin, Muray learned how to make color filters, a first step in the craft that would one day become his trademark. Immediately after the completion of the course, Muray found a good job with a publishing company in Ullstein, Germany. However, the threat of war in Europe forced Muray to flee for America in 1913. Soon after his arrival in New York, Muray was working as a photoengraver for Condé Nast. His specialty was color separations and half-tone negatives.

By 1920, Muray had established a home for himself in the up-and-coming artists' haven of Greenwich Village. He opened a portrait studio out of his apartment and continued to work part time at his engraving job. Harper's Bazaar magazine gave Muray his first big assignment in 1921. The project was to photograph Broadway star Florence Reed. The magazine was so impressed with his photographs that they began to publish his work monthly. This allowed him to give up his part time job and work solely as a photographer. It did not take long for Muray to become one of the most renowned portrait photographers in Manhattan. Muray spent much of the early 1920s photographing the most famous and important personalities in New York at the time.

In his spare time Muray enjoyed fencing. In 1927, he won the National Sabre Championship and in 1928 and 1932, he was on the United States Olympic Team. During World War II, Muray was a flight lieutenant in the Civil Air Patrol.

Location

Currently not on view

Object Name

photograph

Physical Description

paper (overall material)

Measurements

overall: 50.4 cm x 40.5 cm; 19 13/16 in x 15 15/16 in

See more items in

Work and Industry: Photographic History

Nickolas Muray

Art

Photography

National Museum of American History

GUID (Link to Original Record)

http://n2t.net/ark:/65665/ng49ca746aa-577d-704b-e053-15f76fa0b4fa

# data[].attributes.attachment_link.description
depicted (sitter) Kahlo, Frida Muray, Nickolas Description (Brief) A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck. Recto: Signed and dated by artist (pencil). Verso: Muray label.

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This image is interesting to me because it reminds me of “The day of the dead”. A day families welcome back the souls of their deceased relatives for a brief reunion with their favorite foods, drinks, to celebration.

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I was very curious as to why a cat was placed for the head of the body. Also i noticed how one portion of the body was white and one portion was black then can show that lations come in all colors and different background which can explain the unqiue cultures that they have.

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Object Details

Artist

Wifredo Lam, Cuban, b. Sagua la Grande, 1902-1982

Exhibition History

SMITHSONIAN INSTITUTION TRAVELING EXHIBITION SERVICE, Washington, DC (organizer). "Surrealist Art: Selections from the Hirshhorn Museum and Sculpture Garden," no. 35. TOUR: JOSLYN ART MUSEUM, Omaha, 22 March-4 May 1986; ARKANSAS ART CENTER, Little Rock, 5 July-17 August; MONTGOMERY MUSEUM OF FINE ARTS, Alabama, 27 September-9 November; TAMPA MUSEUM, 29 November-11 January 1987; SOCIETY OF THE FOUR ARTS, Palm Beach, Florida, 31 January-15 March; FINE ARTS CENTER AT CHEEKWOOD, Nashville, 4 April-17 May.

MUSEO NACIONAL CENTRO DE ART REINA SOFIA, Madrid. "Wifredo Lam," 29 September-14 December 1992, ill. p. 120. TOUR: FUNDACION JOAN MIRO, Barcelona, 21 January-28 March 1993.

YOKOHAMA MUSEUM OF ART, Japan. "Wifredo Lam: The Changing Image--Centennial Exhibition," 26 October 2002-13 January 2003.

HAGGERTY MUSEUM OF ART, Milwaukee. "Wifredo Lam in North America," 11 October 2007-21 January 2008, pl. 53, p. 127. TOUR: MIAMI ART MUSEUM, 8 February -18 May; MUSEUM OF LATIN AMERICA, Long Beach, California, 12 June-31 August; SALVADOR DALI MUSEUM, St. Petersburg, Florida, 2 October-10 January 2009.

VANCOUVER ART GALLERY. "The Colour of My Dreams: The Surrealist Revolution in Art," 28 May-25 September 2011, p. 324.

VERO BEACH MUSEUM OF ART, Florida. "Cuban Modernism," 19 October 2013-26 January 2014.

HAUS DER KUNST, Munich. "Postwar: Art Between the Pacific and the Atlantic, 1945-1965," 14 October 2016-26 March 2017, no. 135, color ill. p. 377.

Published References

UNSIGNED. "MOLAA...Museum of Latin American Art: Quarterly Publication, Spring 08" (Long Beach, California: Museum of Latin American Art, 2008), ill. cover.

Credit Line

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Mrs. Bernard Gimbel, 1978

Accession Number

78.100

Medium

Oil and charcoal on canvas

Dimensions

51 1/2 x 38 1/2 in. (130.8 x 97.7 cm)

See more items in

Hirshhorn Museum and Sculpture Garden Collection

School

Abstract Expressionism (First Generation)

Hirshhorn Museum and Sculpture Garden

GUID (Link to Original Record)

http://n2t.net/ark:/65665/py215f33c51-7f9b-4b56-98a9-f8da6562b331

# data[].attributes.attachment_link.description
Artist Wifredo Lam, Cuban, b. Sagua la Grande, 1902-1982 Exhibition History SMITHSONIAN INSTITUTION TRAVELING EXHIBITION SERVICE, Washington, DC (organizer). "Surrealist Art: Selections from the Hirshhorn Museum and Sculpture Garden," no. 35.

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I chose this image because it interested me as soon as I saw it. This reflects Latinx identity because Frida Khalo is a part of Latinx history. She was a great artist that came from a low income background.

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Object Details

photographer

Juley, Paul A., 1867-1937

Subject

Kahlo, Frida

Rivera, Diego

Place of publication, production, or execution

No place, unknown, or undetermined

Physical Description

1 photographic print : b&w ; 24 x 19 cm.

Summary

Full length portrait of Kahlo and Rivera in the studio of sculptor Ralph Stackpole, on Montgomery Street, San Francisco.

Citation

Paul A. Juley. Portrait of Frida Kahlo and Diego Rivera, 1931. Chester Dale papers, circa 1883-2003. Archives of American Art, Smithsonian Institution.

Use Note

Current copyright status is undetermined

Location Note

Archives of American Art, Smithsonian Institution Washington, D.C. 20560

Record number

(DSI-AAA)730

Place

San Francisco, Calif.

See more items in

Chester Dale papers, circa 1883-2003, bulk 1920-1970

Archives of American Art

Record ID

AAADCD_item_730

# data[].attributes.attachment_link.title
Portrait of Frida Kahlo and Diego Rivera

# data[].attributes.attachment_link.description
photographer Juley, Paul A., 1867-1937 Subject Kahlo, Frida Rivera, Diego Place of publication, production, or execution No place, unknown, or undetermined Physical Description 1 photographic print : b&w ; 24 x 19 cm. Summary Full length portrait of Kahlo and Rivera in the studio of sculptor Ralph Stackpole, on Montgomery Street, San Francisco.

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This interests me because i actually have a painting of Basquiat in my room.He's the real reason why i wanted to do art.I feel like black kids should learn about him.

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In a prolific yet short-lived career, Jean-Michel Basquiat became a leading figure in the 1980s art world. Having run away from home as a teenager, he supported himself initially by selling homemade postcards and sweatshirts on the street.

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1. I choose this artwork because it shows two people who aren't considered conventionally attractive but they are happy. This is two people who don't care what people think about them they just care about being happy. These people reflect being true to there identity and knowing who they are .

https://ids.si.edu/ids/deliveryService?max_w=800&id=AAA-AAA_daleches_0001

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I chose this piece of artwork because I see a lot of things when I am looking at it. This reflects Latinx identity because pf the patterns used. This represents a woman sitting elegantly, with a grimacing mask on her face.

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This interested me because the work itself was very absract. I felt as though it was alot going on and a picture was being painted. People are doing different things and several objects are in the picture.

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Object Details

Artist

Carlos Almaraz, born Mexico City, Mexico 1941-died Los Angeles, CA 1989

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool

Copyright

© 1986, Carlos Almaraz Estate

Restrictions & Rights

Usage conditions apply

Medium

oil on canvas

Dimensions

72 x 108 1/4 in. (182.9 x 275.0 cm.)

See more items in

Smithsonian American Art Museum Collection

Department

Painting and Sculpture

Smithsonian American Art Museum

Topic

Figure group

Figure group

Abstract

Figure\head

Still life\furniture\chair

Still life\fruit

Still life\other\dish

Still life\other\container

Still life\other\container

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk7ed3cd76e-5d06-417a-89e7-cbe63c105408

# data[].attributes.attachment_link.description
Artist Carlos Almaraz, born Mexico City, Mexico 1941-died Los Angeles, CA 1989 Credit Line Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool Copyright © 1986, Carlos Almaraz Estate Restrictions & Rights Usage conditions apply Medium oil on canvas Dimensions 72 x 108 1/4 in. (182.9 x 275.0 cm.)

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I choose this image because it shows a real life place and how it looks. It was very interesting to look at and see how it looks there or in this area.

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Object Details

Artist

Frank Espada, born Utuado, Puerto Rico 1930-died San Francisco, CA 2014

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center

Copyright

© 1974, Frank Espada Photography

Object number

2015.22.10

Restrictions & Rights

Usage conditions apply

Medium

inkjet print

Dimensions

sheet and image: 13 3/8 × 19 7/8 in. (34.0 × 50.5 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

Smithsonian American Art Museum

Topic

Cityscape\New York\New York

Cityscape\street

Architecture Exterior\ruins

Record ID

saam_2015.22.10

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk7b58085ea-4ff7-4e0c-a85c-2b59f3eb9f08

# data[].attributes.attachment_link.description
Artist Frank Espada, born Utuado, Puerto Rico 1930-died San Francisco, CA 2014 Credit Line Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center Copyright © 1974, Frank Espada Photography Object number 2015.22.10 Restrictions & Rights Usage conditions apply Medium inkjet print Dimensions sheet and image: 13 3/8 × 19 7/8 in.

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I chose this work right off of eyesight because we viewed this painting in art last year, so i'm a bit familiar with it. Also i wanted to learn more about this work, we didn't learn much about the person in the painting. Her choice of appearance play a major role in Latinx. We learned that he facial hair plays a part too,(her uni-brow)

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Object Details

depicted (sitter)

Kahlo, Frida

Muray, Nickolas

Description (Brief)

A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck.

Recto: Signed and dated by artist (pencil). Verso: Muray label. "Frida Kahlo de Rivera" (red marker). "Painter - wife of Diego Rivera - Friend" (red marker). "1946" (pencil).

Description

Nickolas Muray was born in Szeged, Hungary on February 15, 1892. Twelve years after his birth, Muray left his native town and enrolled in a graphic arts school in Budapest. Enrolling in art school was the first step on a road that would eventually lead him to study a photographic printing process called three-color carbro. In the course of his accomplished career, Muray would become an expert in this process and play a key role in bringing color photography to America.

While attending art school in Budapest, Muray studied lithography and photoengraving, earning an International Engraver's Certificate. Muray was also introduced to photography during this time period. His combined interest in photography and printmaking led him to Berlin, Germany to participate in a three-year color-photoengraving course. In Berlin, Muray learned how to make color filters, a first step in the craft that would one day become his trademark. Immediately after the completion of the course, Muray found a good job with a publishing company in Ullstein, Germany. However, the threat of war in Europe forced Muray to flee for America in 1913. Soon after his arrival in New York, Muray was working as a photoengraver for Condé Nast. His specialty was color separations and half-tone negatives.

By 1920, Muray had established a home for himself in the up-and-coming artists' haven of Greenwich Village. He opened a portrait studio out of his apartment and continued to work part time at his engraving job. Harper's Bazaar magazine gave Muray his first big assignment in 1921. The project was to photograph Broadway star Florence Reed. The magazine was so impressed with his photographs that they began to publish his work monthly. This allowed him to give up his part time job and work solely as a photographer. It did not take long for Muray to become one of the most renowned portrait photographers in Manhattan. Muray spent much of the early 1920s photographing the most famous and important personalities in New York at the time.

In his spare time Muray enjoyed fencing. In 1927, he won the National Sabre Championship and in 1928 and 1932, he was on the United States Olympic Team. During World War II, Muray was a flight lieutenant in the Civil Air Patrol.

Location

Currently not on view

Object Name

photograph

Physical Description

paper (overall material)

Measurements

overall: 50.4 cm x 40.5 cm; 19 13/16 in x 15 15/16 in

See more items in

Work and Industry: Photographic History

Nickolas Muray

Art

Photography

National Museum of American History

GUID (Link to Original Record)

http://n2t.net/ark:/65665/ng49ca746aa-577d-704b-e053-15f76fa0b4fa

# data[].attributes.attachment_link.description
depicted (sitter) Kahlo, Frida Muray, Nickolas Description (Brief) A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck. Recto: Signed and dated by artist (pencil). Verso: Muray label.

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I chose The seated women picture because it's different pieces of art put in that picture to make the whole piece of art

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This image describes a result of colonization of European countries coming to the new world. European countries led to division in communities in the Latin and Black community by believing in the oppression and delusion of dark skinned people are savages and the idea of conform.

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Object Details

Artist

Rubén Ortiz Torres, born Mexico City, Mexico 1964

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center

Copyright

© 1994, Rubén Ortiz-Torres

Restrictions & Rights

Usage conditions apply

Medium

chromogenic print

Dimensions

image: 15 1/4 × 22 1/4 in. (38.7 × 56.5 cm) sheet: 20 × 24 in. (50.8 × 61.0 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

Smithsonian American Art Museum

Topic

Figure group

Dress\costume

Ceremony\festival

History\United States\California

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk766a6467d-8532-47b1-b269-08612ead3f07

# data[].attributes.attachment_link.description
Artist Rubén Ortiz Torres, born Mexico City, Mexico 1964 Credit Line Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center Copyright © 1994, Rubén Ortiz-Torres Restrictions & Rights Usage conditions apply Medium chromogenic print Dimensions image: 15 1/4 × 22 1/4 in.

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Object Details

Artist

Carmen Lomas Garza, born Kingsville, TX 1948

Exhibition Label

Lomas Garza's folk-styled works document the lives of Mexican Americans and often portray memories of her own family in South Texas. In Camas para Sueños (Beds for Dreams) the artist and her sister sit on their roof dreaming of becoming artists, while their mother below maintains a traditional home. Lomas Garza's deceptively straightforward images offer uncommon glimpses of American daily life as it unfolds in many Chicano communities.

Our America: The Latino Presence in American Art, 2013

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool and the Smithsonian Institution Collections Acquisition Program

Copyright

© 1985, Carmen Lomas Garza

Restrictions & Rights

Usage conditions apply

Medium

gouache on paper

Dimensions

sheet: 28 1/8 x 20 1/2 in. (71.4 x 52.1 cm) sight: 23 x 17 1/2 in. (58.4 x 44.3 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

Smithsonian American Art Museum

Topic

Landscape\celestial\moon

Landscape\time\night

Figure group\female

State of being\phenomenon\dream

Architecture Exterior\domestic\house

Architecture Exterior\domestic\bedroom

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk7d2f52f66-fc04-4639-b12f-0e680c461964

# data[].attributes.attachment_link.description
Artist Carmen Lomas Garza, born Kingsville, TX 1948 Exhibition Label Lomas Garza's folk-styled works document the lives of Mexican Americans and often portray memories of her own family in South Texas. In Camas para Sueños (Beds for Dreams) the artist and her sister sit on their roof dreaming of becoming artists, while their mother below maintains a traditional home.

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I chose this work because it really caught my eye. The body in the middle of the street really reminded of Chicago because of the amount of violence that occurs so often. This reflects LatinX identity because There is a body just laying in the middle of the street and no attention is being given to it. This gives us a sense of how insignificant Latin lives are viewed.

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Object Details

Artist

Asco, active 1971-1987

Harry Gamboa, Jr., born Los Angeles, CA 1951

Gronk, born Los Angeles, CA 1954

Willie F. Herrón III, born Los Angeles, CA 1951

Patssi Valdez, born Los Angeles, CA 1951

Photographer

Harry Gamboa, Jr., born Los Angeles, CA 1951

Credit Line

Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment

Copyright

© 1974, Harry Gamboa, Jr.

Restrictions & Rights

Usage conditions apply

Type

Photography-Photoprint

Medium

chromogenic print

Dimensions

image: 12 5/8 x 19 in. (32.1 x 48.3 cm) sheet: 16 x 20 in. (40.6 x 50.8 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

Smithsonian American Art Museum

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk74bbd750e-15c5-4ed8-8b74-0b4c7e756ee1

# data[].attributes.attachment_link.description
Artist Asco, active 1971-1987 Harry Gamboa, Jr., born Los Angeles, CA 1951 Gronk, born Los Angeles, CA 1954 Willie F. Herrón III, born Los Angeles, CA 1951 Patssi Valdez, born Los Angeles, CA 1951 Photographer Harry Gamboa, Jr., born Los Angeles, CA 1951 Credit Line Smithsonian American Art Museum, Museum purchase through the Luisita L.

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https://www.si.edu/object/camas-para-suenos:saam_1995.94
I chose this piece because the vibe I got from it was interesting. The picture shows a house that's presumably in the middle of the country, with a mother preparing dinner (as seen through the window), and 2 children looking up and pointing at the night sky. To me, this piece conveys a sense of tranquility and familiarity. This reflects the Latin-x identity by showing the subtle nature of Latin culture and its traditions.

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i Chose this work because i caught me off guard with the picture but when you take a closer look you get to understand the image as a whole then you start directing piece by piece to get a full understanding

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Object Details

Artist

Miguel A. Gandert, born Española, NM 1956

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center

Copyright

© 1996, Miguel Gandert

Restrictions & Rights

Usage conditions apply

Medium

gelatin silver print

Dimensions

image: 17 7/8 × 12 in. (45.4 × 30.5 cm) sheet: 20 × 16 in. (50.8 × 40.6 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

Smithsonian American Art Museum

Topic

Figure group

Dress\ceremonial

Ceremony\religion

Ethnic\Latino

Landscape\New Mexico\Alcalde

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk71f757e1b-a2c4-448e-9fcb-b064da490084

# data[].attributes.attachment_link.description
Artist Miguel A. Gandert, born Española, NM 1956 Credit Line Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center Copyright © 1996, Miguel Gandert Restrictions & Rights Usage conditions apply Medium gelatin silver print Dimensions image: 17 7/8 × 12 in.

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The art I was intrested by was a painting of Frida Kahlo de rivera. It was painted by Nickolas murray in The early 20th century. This was painted by a b man who left his home coutry at only twelve years old to have better oppurtunties in life.

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Object Details

depicted (sitter)

Kahlo, Frida

Muray, Nickolas

Description (Brief)

A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck.

Recto: Signed and dated by artist (pencil). Verso: Muray label. "Frida Kahlo de Rivera" (red marker). "Painter - wife of Diego Rivera - Friend" (red marker). "1946" (pencil).

Description

Nickolas Muray was born in Szeged, Hungary on February 15, 1892. Twelve years after his birth, Muray left his native town and enrolled in a graphic arts school in Budapest. Enrolling in art school was the first step on a road that would eventually lead him to study a photographic printing process called three-color carbro. In the course of his accomplished career, Muray would become an expert in this process and play a key role in bringing color photography to America.

While attending art school in Budapest, Muray studied lithography and photoengraving, earning an International Engraver's Certificate. Muray was also introduced to photography during this time period. His combined interest in photography and printmaking led him to Berlin, Germany to participate in a three-year color-photoengraving course. In Berlin, Muray learned how to make color filters, a first step in the craft that would one day become his trademark. Immediately after the completion of the course, Muray found a good job with a publishing company in Ullstein, Germany. However, the threat of war in Europe forced Muray to flee for America in 1913. Soon after his arrival in New York, Muray was working as a photoengraver for Condé Nast. His specialty was color separations and half-tone negatives.

By 1920, Muray had established a home for himself in the up-and-coming artists' haven of Greenwich Village. He opened a portrait studio out of his apartment and continued to work part time at his engraving job. Harper's Bazaar magazine gave Muray his first big assignment in 1921. The project was to photograph Broadway star Florence Reed. The magazine was so impressed with his photographs that they began to publish his work monthly. This allowed him to give up his part time job and work solely as a photographer. It did not take long for Muray to become one of the most renowned portrait photographers in Manhattan. Muray spent much of the early 1920s photographing the most famous and important personalities in New York at the time.

In his spare time Muray enjoyed fencing. In 1927, he won the National Sabre Championship and in 1928 and 1932, he was on the United States Olympic Team. During World War II, Muray was a flight lieutenant in the Civil Air Patrol.

Location

Currently not on view

Object Name

photograph

Physical Description

paper (overall material)

Measurements

overall: 50.4 cm x 40.5 cm; 19 13/16 in x 15 15/16 in

See more items in

Work and Industry: Photographic History

Nickolas Muray

Art

Photography

National Museum of American History

GUID (Link to Original Record)

http://n2t.net/ark:/65665/ng49ca746aa-577d-704b-e053-15f76fa0b4fa

# data[].attributes.attachment_link.description
depicted (sitter) Kahlo, Frida Muray, Nickolas Description (Brief) A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck. Recto: Signed and dated by artist (pencil). Verso: Muray label.

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This picture stood out the most to me because of the "cultural". It is different, what he wore on his face caught my eye but as i read i understood. All Latinx have a different cultural appliance.. so they are all different in a way. So the appeareance of the two people is what caught my eye.

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Object Details

Artist

Miguel A. Gandert, born Española, NM 1956

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center

Copyright

© 1996, Miguel Gandert

Restrictions & Rights

Usage conditions apply

Medium

gelatin silver print

Dimensions

image: 17 7/8 × 12 in. (45.4 × 30.5 cm) sheet: 20 × 16 in. (50.8 × 40.6 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

Smithsonian American Art Museum

Topic

Figure group

Dress\ceremonial

Ceremony\religion

Ethnic\Latino

Landscape\New Mexico\Alcalde

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk71f757e1b-a2c4-448e-9fcb-b064da490084

# data[].attributes.attachment_link.description
Artist Miguel A. Gandert, born Española, NM 1956 Credit Line Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center Copyright © 1996, Miguel Gandert Restrictions & Rights Usage conditions apply Medium gelatin silver print Dimensions image: 17 7/8 × 12 in.

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https://www.si.edu/object/anima-almasoul%3Asaam_1995.54.1.2
i picked this picture because it had me wondering if it was a person getting sat on fire or if it was a statue.i was also thinking like what was the reason like was it on purpose or did it happen on accident.

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Object Details

Artist

Ana Mendieta, born Havana, Cuba 1948-died New York City 1985

Gallery Label

For these works, Mendieta used fireworks to set wooden effigies of her outline ablaze in a clearing in Oaxaca, Mexico. The flames light up the night sky, asserting her presence and power, before the figures collapse into a pile of ash. Leaving only photographic and film evidence behind, this feminist approach to earth art acknowledges human transience in the face of ecological time.

Using her body and natural materials, Mendieta created unforgettable yet fleeting interventions in sites from Iowa to Mexico to Cuba. Her best known series, Silueta, depicts her nude body or traced silhouette in natural environments, evoking ancient goddesses, fertility symbols and rituals borrowed from Catholicism, Caribbean santería, and pre-Columbian indigenous cultures around the world. Mendieta came to the United States in 1961 as part of wave of unaccompanied child refugees transported from Cuba by the Catholic Church. Mendieta spent her high school, college, and graduate school years in Iowa and her art continually addresses dislocation from and reconnection to the land.

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool and the Smithsonian Institution Collections Acquisition Program

Copyright

© 1976, Estate of Ana Mendieta

Object number

1995.54.1.2

Restrictions & Rights

Usage conditions apply

Type

Photography-Photoprint

Medium

chromogenic print

Dimensions

sheet, image and mount: 13 1/2 x 20 in. (34.3 x 50.8 cm.)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

On View

Smithsonian American Art Museum, 3rd Floor, North Wing

Smithsonian American Art Museum

Topic

Figure

Modern art movement\performance

Landscape\Mexico\Oaxaca

Modern art movement\installation exterior\Mexico

Record ID

saam_1995.54.1.2

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk741c73575-b657-4280-98b5-c32f01219d11

# data[].attributes.attachment_link.description
Artist Ana Mendieta, born Havana, Cuba 1948-died New York City 1985 Gallery Label For these works, Mendieta used fireworks to set wooden effigies of her outline ablaze in a clearing in Oaxaca, Mexico. The flames light up the night sky, asserting her presence and power, before the figures collapse into a pile of ash.

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https://www.si.edu/object/statue-liberty:saam_1997.124.72
This sculpture reflects Latinx identity because most immigrants like to see the statue of liberty as a symbol of freedom which is the reason why most immigrants come to America. It also reflect the culture of Lainx because it shows how most Latinx people make shrines or totems out of everyday objects just like the glue cap own her crown and light stick. I choose this because it stood out a lot especially because of the materials it's made out of.

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Object Details

Artist

Gregorio Marzan, born Vega Baja, Puerto Rico 1906-died New York City 1997

Luce Center Label

Like many immigrants to the United States, Gregorio Marzan considered the Statue of Liberty an important symbol of freedom. He created many versions of the statue and in this piece portrayed Lady Liberty in heavy make-up and gaudy clothing. Marzan's use of found objects, including the glue caps in the crown, relates to the Latin American tradition of creating personal shrines and totems from everyday objects.

Credit Line

Smithsonian American Art Museum, Gift of Chuck and Jan Rosenak and museum purchase through the Luisita L. and Franz H. Denghausen Endowment

Object number

1997.124.72

Restrictions & Rights

Usage conditions apply

Medium

mixed media: plaster, fabric, glue, light bulb, Elmer's Glue caps, and wig

Dimensions

64 1/2 x 30 x 7 in. (163.8 x 76.2 x 17.8 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Painting and Sculpture

Smithsonian American Art Museum

Topic

Dress\accessory\jewelry

Monument\statue\Statue of Liberty

Record ID

saam_1997.124.72

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk742ee750d-1302-44ce-b4b6-785df0bdd3d8

# data[].attributes.attachment_link.description
Artist Gregorio Marzan, born Vega Baja, Puerto Rico 1906-died New York City 1997 Luce Center Label Like many immigrants to the United States, Gregorio Marzan considered the Statue of Liberty an important symbol of freedom. He created many versions of the statue and in this piece portrayed Lady Liberty in heavy make-up and gaudy clothing.

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This interest me because it makes me think of "Capital Hill" but a empty version of like be just left it there and never went back. Like they left it there to rot.

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Object Details

Artist

Emilio Sánchez, born Camagüey, Cuba 1921-died Warwick, NY 1999

Credit Line

Smithsonian American Art Museum, Gift of the Emilio Sanchez Foundation

Copyright

© Emilio Sanchez Foundation

Restrictions & Rights

Usage conditions apply

Medium

oil on canvas

Dimensions

48 x 48 1/8 in. (122.0 x 122.2 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Painting and Sculpture

Smithsonian American Art Museum

Topic

Architecture Exterior\civic\capitol

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk708e5aa08-b627-4fb4-9ed2-1ebf55666498

# data[].attributes.attachment_link.description
Artist Emilio Sánchez, born Camagüey, Cuba 1921-died Warwick, NY 1999 Credit Line Smithsonian American Art Museum, Gift of the Emilio Sanchez Foundation Copyright © Emilio Sanchez Foundation Restrictions & Rights Usage conditions apply Medium oil on canvas Dimensions 48 x 48 1/8 in.

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https://www.si.edu/object/camas-para-suenos:saam_1995.94 I thought this piece of are was interestng because of the two girls gazing at the stars while their mother keeps the home nice. I like how the two girls where standing on the roof together because it shows their bond through a painting. It also shows a strong family relationship between the two. This reflects Latinx identity with this painting showing their everyday life.

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Object Details

Artist

Feliciano Peña, Mexican, born Silao, Mexico 1915-died 1982

Credit Line

Smithsonian American Art Museum, Bequest of Olin Dows

Object number

1983.90.230

Restrictions & Rights

Usage conditions apply

Medium

oil on canvas

Dimensions

21 5/8 x 15 3/4 in. (55.0 x 40.0 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Painting and Sculpture

Smithsonian American Art Museum

Topic

Landscape\mountain

Landscape\Mexico

Cityscape\town

Record ID

saam_1983.90.230

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk7c29cea84-b67a-41f2-969c-a20963e32b88

# data[].attributes.attachment_link.description
Artist Feliciano Peña, Mexican, born Silao, Mexico 1915-died 1982 Credit Line Smithsonian American Art Museum, Bequest of Olin Dows Object number 1983.90.230 Restrictions & Rights Usage conditions apply Medium oil on canvas Dimensions 21 5/8 x 15 3/4 in.

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I got interested in this statue because of how it seemed to be made out of trash which made me think that they were symbolizing America as trash when they were actually portraying their creative culture

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Object Details

Artist

Gregorio Marzan, born Vega Baja, Puerto Rico 1906-died New York City 1997

Luce Center Label

Like many immigrants to the United States, Gregorio Marzan considered the Statue of Liberty an important symbol of freedom. He created many versions of the statue and in this piece portrayed Lady Liberty in heavy make-up and gaudy clothing. Marzan's use of found objects, including the glue caps in the crown, relates to the Latin American tradition of creating personal shrines and totems from everyday objects.

Credit Line

Smithsonian American Art Museum, Gift of Chuck and Jan Rosenak and museum purchase through the Luisita L. and Franz H. Denghausen Endowment

Object number

1997.124.72

Restrictions & Rights

Usage conditions apply

Medium

mixed media: plaster, fabric, glue, light bulb, Elmer's Glue caps, and wig

Dimensions

64 1/2 x 30 x 7 in. (163.8 x 76.2 x 17.8 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Painting and Sculpture

Smithsonian American Art Museum

Topic

Dress\accessory\jewelry

Monument\statue\Statue of Liberty

Record ID

saam_1997.124.72

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk742ee750d-1302-44ce-b4b6-785df0bdd3d8

# data[].attributes.attachment_link.description
Artist Gregorio Marzan, born Vega Baja, Puerto Rico 1906-died New York City 1997 Luce Center Label Like many immigrants to the United States, Gregorio Marzan considered the Statue of Liberty an important symbol of freedom. He created many versions of the statue and in this piece portrayed Lady Liberty in heavy make-up and gaudy clothing.

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i chose this one because as i was reading it i started to see the struggle he went through. running away from home, selling stuff on the street to make money and spray paint walls with his friends and went from that to making money from his art.

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In a prolific yet short-lived career, Jean-Michel Basquiat became a leading figure in the 1980s art world. Having run away from home as a teenager, he supported himself initially by selling homemade postcards and sweatshirts on the street.

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I chose this work because it tells the story of a person that was important to National Hispanic Month. Jimeńez was a recognized artist among his people and left a stamp in history for his artwork and sculptures. Jimenez was known for for getting most of his ideas from Hispanic origins for his artwork.

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Object Details

Artist

Gaspar Enríquez, born 1942

Sitter

Luis Jiménez, 30 Jul 1940 - 13 Jun 2006

Exhibition Label

Born El Paso, Texas

Luis Jiménez's large-scale fiberglass sculptures of mustangs, dancers, and howling coyotes have become familiar sights in public spaces across the United States. An internationally recognized artist, Jiménez put his stamp on Pop art by infusing his playful critique of American society with the history and myths of his native Southwest. His blazing Vaquero, installed just outside this building, offers a reinvention of equestrian sculpture that draws attention to the Hispanic origins of the American cowboy. The sculpture has been a signature work of the Smithsonian since it was acquired in the 1980s.

Born in the U.S.-Mexico borderland in Texas, Jiménez learned how to spray paint and weld while working at his father's neon shop. Without formal training, he moved to New York City in the 1960s, where the art world took notice of his talent.

Chicano portraitist Gaspar Enríquez, a friend of Jiménez, made this diptych a few years before Jiménez died in a studio accident.

Nacido en El Paso, Texas

Las gigantescas esculturas en fibra de vidrio de Luis Jiménez, que representan caballos, bailarines y coyotes aulladores, se han vuelto imágenes familiares en los espacios públicos de Estados Unidos. Jiménez, artista de fama internacional, dejó su huella en el arte pop con su crítica lúdica de la sociedad estadounidense, en la que introdujo la historia y los mitos de la región suroeste del país, donde nació. Su espectacular Vaquero, instalado a la entrada de este edificio, nos ofrece una reinvención de la escultura ecuestre que pone de relieve el origen hispano del cowboy norteamericano. Esta escultura ha sido una obra distintiva del Smithsonian desde su adquisición en la década de 1980.

Nacido en Texas, en la frontera entre Estados Unidos y México, Jiménez aprendió a pintar con aerosol y a soldar trabajando en el taller de letreros de neón de su padre. Sin instrucción formal, se mudó a la ciudad de Nueva York en la década de 1960, donde su talento llamó la atención del mundo del arte.

El retratista chicano Gaspar Enríquez, amigo de Jiménez, realizó este díptico pocos años antes de la muerte de este, a causa de un accidente en el estudio.

Credit Line

National Portrait Gallery, Smithsonian Institution; donated from the collection of Jerry and Michelle Wright (El Paso, Texas) December 1st, 2016

Object number

NPG.2016.144.1

Restrictions & Rights

Usage conditions apply

Copyright

© 2003 Gaspar Enriquez

Medium

Airbrushed acrylic paint on paper

Dimensions

Image: 104.5 × 74 cm (41 1/8 × 29 1/8")

Frame: 122.2 × 91.4 × 7 cm (48 1/8 × 36 × 2 3/4")

Place

United States\Texas\El Paso\San Elizario

See more items in

National Portrait Gallery Collection

Alternate Title

El Corazón de Luis

National Portrait Gallery

Topic

Costume\Headgear\Hat

Costume\Dress Accessory\Eyeglasses

Indeterminable

Luis Jiménez: Visual Arts\Artist

Luis Jiménez: Male

Luis Jiménez: Visual Arts\Artist\Sculptor

Portrait

Record ID

npg_NPG.2016.144.1

GUID (Link to Original Record)

http://n2t.net/ark:/65665/sm4a1941524-823e-4402-92ce-5bb01e3c1c24

# data[].attributes.attachment_link.description
Artist Gaspar Enríquez, born 1942 Sitter Luis Jiménez, 30 Jul 1940 - 13 Jun 2006 Exhibition Label Born El Paso, Texas Luis Jiménez's large-scale fiberglass sculptures of mustangs, dancers, and howling coyotes have become familiar sights in public spaces across the United States.

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Object Details

Artist

Miguel A. Gandert, born Española, NM 1956

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center

Copyright

© 1996, Miguel Gandert

Restrictions & Rights

Usage conditions apply

Medium

gelatin silver print

Dimensions

image: 17 7/8 × 12 in. (45.4 × 30.5 cm) sheet: 20 × 16 in. (50.8 × 40.6 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

Smithsonian American Art Museum

Topic

Figure group

Dress\ceremonial

Ceremony\religion

Ethnic\Latino

Landscape\New Mexico\Alcalde

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk71f757e1b-a2c4-448e-9fcb-b064da490084

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Artist Miguel A. Gandert, born Española, NM 1956 Credit Line Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center Copyright © 1996, Miguel Gandert Restrictions & Rights Usage conditions apply Medium gelatin silver print Dimensions image: 17 7/8 × 12 in.

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https://www.si.edu/object/indio-east-los-angeles-urban-portrait-portfolio:saam_2017.8.3

This image interested me because it is the typical way a Latinex male is portrayed on tv and what not. The clothing is what I've seen Latinos where, button up shirts, white tees, belted pants. Latin neighborhoods are also portrayed as "messy" and "dirty," as u can see the pieces of trash and horrible paint jobs.

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https://www.si.edu/object/dog-turning-corner:hmsg_86.541.   I liked this photos point of view .I liked that is was based on the vision of a dog. I liked the colors of the walls ,they look really nice.

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This interested me, because of how it looked. The look was appealing, because of how artistic it was. Ever since I started taking art, art has become more appealing to me.

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I chose Frida Kahlo because I've seen her art in various paintings in restaurants and i remember she always stood out to me because of her unibrow and slight mustache, so i just wanted to learn more. I learned that. I learned that she was famous for self portraits, she affected the latin x community by spreading her ideas and culture through her paintings. She was also Inspired by the country's popular culture, she employed a naïve folk art style to explore questions of identity, postcolonialism, gender, class, and race in Mexican society.

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this reflect latinx identity because of the style of art and the clothes on the women. That was a cultural appropriate dress and the headwear

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https://www.si.edu/object/monarca-y-su-malinche-alcalde-nm:saam_2016.20.9
I chose this picture because I thought it was kinda wholesome. It looks like a daughter and there father figure sitting side by side. I thought it showed the family side to Latin-x and how caring they can be.

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I chose this image because it speaks to my childhood memories and most are chaotic and foggy but makes me who I am today.

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I chose this image because it shows how most Latino people in America are immigrants or descendants of immigrants. https://ids.si.edu/ids/deliveryService?max_w=800&id=SAAM-2013.20_1

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I chose this because me when i was little me and my cousin went on the roof from her bedroom window in joyed the weather  and looked at the sky . She also live in a dominantly hispanic neighborhood. In the house is the mother taking care of the laundry like most mothers do. It’s a nice art piece showing how kids go off and play and the mother takes care.  https://www.si.edu/object/camas-para-suenos:saam_1995.94of them and everyday things.

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I chose this work because it caught my eye .This hallway is very nice and it has some culture going on in the picture.In the picture I see sculptures of people on the shelves and this museum looks like it has a lot of biographies about culture .

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I chose this because Frida kahlo was one of the greastest latino or latina artist of the world .She started when she attend to art school.And continue to do art.She stary study some photographs of her art.She wrote about was going in europe in war in 1913

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i choose this one because it looks interesting and cool because i think he was fighting a war i the 1989 i think.

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I chose this because this looks like it signifies something about leadership because of the big person, and the other ones are looking up at him. Apparently this picture was made in 1975

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I chose this because it shows how oppressed they were. How they were treated more as working tools than humans. This picture i think shows the harsh truth for Latin people. Something that should never be forgotten.

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I choose this one cause it looks very interesting cause I’m not really understanding the picture

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This interested me because it shows me how creative painting can get. I really don't understand what the picture means but I know it means a lot to them. just by looking at the picture it just tells me what kind of childhood rode she went down.

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This interested me because this picture reminded me of a movie my little brother use to watch all the time.It looks like skeletons that are in a band and are playing music in their hometown.

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I like the picture with Big James Sweats Buckets because hes black and it looks like he has on slavery clothes. It shows importance to black history. It shows the suffering we went through.

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I have chosen this specific art peace because of the color it has how bright it was.It also looked very artistic.This reflects to the Latinx Identity because in the text it states that¨In the 1980s, Sánchez turned to the urban landscape of New York, where commercial establishments like bodegas (corner stores) evoked places and people from the Caribbean. La Rumba Supermarket is named after a signature Cuban rhythm that became internationalized after the 1930s. ´´

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I picked this because it looked like a nice place to eat at. It has very interesting seats and a very interesting building. I like the facts that its good lights and it is a good setting to go on a date.

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The Smithsonian American Art Museum, the nation's first art collection, is an unparalleled record of the American experience from the colonial period to today. The museum is the home to one of the largest and most inclusive collections of American art in the world. Highlights are images of the American West, WPA murals, impressionism, folk art, photography, video and media art, works by African American and Latino artists, and modern and contemporary art.

The Luce Foundation Center for American Art, the first visible art storage and study center in Washington, allows visitors to browse more than 3,300 works from the collection. It adjoins the Lunder Conservation Center, the first art conservation facility to allow the public permanent behind-the-scenes views of the preservation of artworks. Open 11:30 am - 7 pm daily except Dec. 25.

Largest Meeting Room Details

Capacity, Banquet-style: 850
Capacity, Theatre-style: 346

Inside Reception Capacity: 3000

ADA Compliant, Free Admission, Guided tours available, Private Tour

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The Smithsonian American Art Museum, the nation's first art collection, is an unparalleled record of the American experience from the colonial period to today. The museum is the home to one of the largest and most inclusive collections of American art in the world.

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I chose this because it shows that not every part is beautiful some parts got have poverty

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This is interesting because it shows their belief in the forbidden fruit. In the picture it also shows a female in fire getting burned. But then there is also two other females on each corner next to a bowl of grapes.

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Object Details

Artist

Patssi Valdez, born Los Angeles, CA 1951

Credit Line

Smithsonian American Art Museum, Gift of Ricardo and Harriett Romo

Restrictions & Rights

Usage conditions apply

Type

Graphic Arts-Print

Medium

screenprint on paper

Dimensions

sheet and image: 38 1/4 x 26 1/4 in. (97.2 x 66.7 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

Smithsonian American Art Museum

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk7bc8693bc-13c9-4526-bd42-727ff659b6f2

# data[].attributes.attachment_link.description
Artist Patssi Valdez, born Los Angeles, CA 1951 Credit Line Smithsonian American Art Museum, Gift of Ricardo and Harriett Romo Restrictions & Rights Usage conditions apply Type Graphic Arts-Print Medium screenprint on paper Dimensions sheet and image: 38 1/4 x 26 1/4 in.

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i chose this picture because it talks about identity and how you carry yourself also about the latino culture and its good to learn about different things about the world

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This interested me because this image basically describe the colonization of European countries about to be new world

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I chose this picture because it shows thoughts about identity and how you keep up with your self. The image showed out to me because it shows a really good artist who painted well. It shows the latinx culture in the picture, they don't copy anyone else they have their own style in their own way.

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Object Details

depicted (sitter)

Kahlo, Frida

Muray, Nickolas

Description (Brief)

A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck.

Recto: Signed and dated by artist (pencil). Verso: Muray label. "Frida Kahlo de Rivera" (red marker). "Painter - wife of Diego Rivera - Friend" (red marker). "1946" (pencil).

Description

Nickolas Muray was born in Szeged, Hungary on February 15, 1892. Twelve years after his birth, Muray left his native town and enrolled in a graphic arts school in Budapest. Enrolling in art school was the first step on a road that would eventually lead him to study a photographic printing process called three-color carbro. In the course of his accomplished career, Muray would become an expert in this process and play a key role in bringing color photography to America.

While attending art school in Budapest, Muray studied lithography and photoengraving, earning an International Engraver's Certificate. Muray was also introduced to photography during this time period. His combined interest in photography and printmaking led him to Berlin, Germany to participate in a three-year color-photoengraving course. In Berlin, Muray learned how to make color filters, a first step in the craft that would one day become his trademark. Immediately after the completion of the course, Muray found a good job with a publishing company in Ullstein, Germany. However, the threat of war in Europe forced Muray to flee for America in 1913. Soon after his arrival in New York, Muray was working as a photoengraver for Condé Nast. His specialty was color separations and half-tone negatives.

By 1920, Muray had established a home for himself in the up-and-coming artists' haven of Greenwich Village. He opened a portrait studio out of his apartment and continued to work part time at his engraving job. Harper's Bazaar magazine gave Muray his first big assignment in 1921. The project was to photograph Broadway star Florence Reed. The magazine was so impressed with his photographs that they began to publish his work monthly. This allowed him to give up his part time job and work solely as a photographer. It did not take long for Muray to become one of the most renowned portrait photographers in Manhattan. Muray spent much of the early 1920s photographing the most famous and important personalities in New York at the time.

In his spare time Muray enjoyed fencing. In 1927, he won the National Sabre Championship and in 1928 and 1932, he was on the United States Olympic Team. During World War II, Muray was a flight lieutenant in the Civil Air Patrol.

Location

Currently not on view

Object Name

photograph

Physical Description

paper (overall material)

Measurements

overall: 50.4 cm x 40.5 cm; 19 13/16 in x 15 15/16 in

See more items in

Work and Industry: Photographic History

Nickolas Muray

Art

Photography

National Museum of American History

GUID (Link to Original Record)

http://n2t.net/ark:/65665/ng49ca746aa-577d-704b-e053-15f76fa0b4fa

# data[].attributes.attachment_link.description
depicted (sitter) Kahlo, Frida Muray, Nickolas Description (Brief) A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck. Recto: Signed and dated by artist (pencil). Verso: Muray label.

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At first when I was scrolling through the tittle caught my eye because it was in English while most are in Spanish. I liked how the the artist captured the buildings cave in. The bright colors really contrast to the sky.

https://www.si.edu/object/dog-turning-corner:hmsg_86.541

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Object Details

Artist

Fernando Botero, Colombian, b. Medellín, 1932

Provenance

The artist, Paris, to 19 May 1980

Joseph H. Hirshhorn, New York and Washington, DC., 19 May 1980-31 August 1981

(Estate of Joseph H. Hirshhorn, 1981-1986)

Joseph H. Hirshhorn Bequest, 1981

Exhibition History

MUSEUM OF LATIN AMERICAN ART, Long Beach, CA. "Smithsonian Affiliate Program," March 2001 - September 2004.

Credit Line

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, The Joseph H. Hirshhorn Bequest, 1981

Accession Number

86.541

Medium

Oil on linen

Dimensions

74 3/4 X 60 1/2 in. (189.9 X 153.7 cm)

See more items in

Hirshhorn Museum and Sculpture Garden Collection

School

Hispanic Contemporary

Hirshhorn Museum and Sculpture Garden

GUID (Link to Original Record)

http://n2t.net/ark:/65665/py2e5355685-d938-4504-b252-b9b1de793d88

# data[].attributes.attachment_link.description
Artist Fernando Botero, Colombian, b. Medellín, 1932 Provenance The artist, Paris, to 19 May 1980 Joseph H. Hirshhorn, New York and Washington, DC., 19 May 1980-31 August 1981 (Estate of Joseph H. Hirshhorn, 1981-1986) Joseph H. Hirshhorn Bequest, 1981 Exhibition History MUSEUM OF LATIN AMERICAN ART, Long Beach, CA.

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Object Details

depicted (sitter)

Kahlo, Frida

Muray, Nickolas

Description (Brief)

A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck.

Recto: Signed and dated by artist (pencil). Verso: Muray label. "Frida Kahlo de Rivera" (red marker). "Painter - wife of Diego Rivera - Friend" (red marker). "1946" (pencil).

Description

Nickolas Muray was born in Szeged, Hungary on February 15, 1892. Twelve years after his birth, Muray left his native town and enrolled in a graphic arts school in Budapest. Enrolling in art school was the first step on a road that would eventually lead him to study a photographic printing process called three-color carbro. In the course of his accomplished career, Muray would become an expert in this process and play a key role in bringing color photography to America.

While attending art school in Budapest, Muray studied lithography and photoengraving, earning an International Engraver's Certificate. Muray was also introduced to photography during this time period. His combined interest in photography and printmaking led him to Berlin, Germany to participate in a three-year color-photoengraving course. In Berlin, Muray learned how to make color filters, a first step in the craft that would one day become his trademark. Immediately after the completion of the course, Muray found a good job with a publishing company in Ullstein, Germany. However, the threat of war in Europe forced Muray to flee for America in 1913. Soon after his arrival in New York, Muray was working as a photoengraver for Condé Nast. His specialty was color separations and half-tone negatives.

By 1920, Muray had established a home for himself in the up-and-coming artists' haven of Greenwich Village. He opened a portrait studio out of his apartment and continued to work part time at his engraving job. Harper's Bazaar magazine gave Muray his first big assignment in 1921. The project was to photograph Broadway star Florence Reed. The magazine was so impressed with his photographs that they began to publish his work monthly. This allowed him to give up his part time job and work solely as a photographer. It did not take long for Muray to become one of the most renowned portrait photographers in Manhattan. Muray spent much of the early 1920s photographing the most famous and important personalities in New York at the time.

In his spare time Muray enjoyed fencing. In 1927, he won the National Sabre Championship and in 1928 and 1932, he was on the United States Olympic Team. During World War II, Muray was a flight lieutenant in the Civil Air Patrol.

Location

Currently not on view

Object Name

photograph

Physical Description

paper (overall material)

Measurements

overall: 50.4 cm x 40.5 cm; 19 13/16 in x 15 15/16 in

See more items in

Work and Industry: Photographic History

Nickolas Muray

Art

Photography

National Museum of American History

GUID (Link to Original Record)

http://n2t.net/ark:/65665/ng49ca746aa-577d-704b-e053-15f76fa0b4fa

# data[].attributes.attachment_link.description
depicted (sitter) Kahlo, Frida Muray, Nickolas Description (Brief) A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck. Recto: Signed and dated by artist (pencil). Verso: Muray label.

# data[].attributes.attachment_link.readable_text
Object Details

depicted (sitter)

Kahlo, Frida

Muray, Nickolas

Description (Brief)

A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck.

Recto: Signed and dated by artist (pencil). Verso: Muray label. "Frida Kahlo de Rivera" (red marker). "Painter - wife of Diego Rivera - Friend" (red marker). "1946" (pencil).

Description

Nickolas Muray was born in Szeged, Hungary on February 15, 1892. Twelve years after his birth, Muray left his native town and enrolled in a graphic arts school in Budapest. Enrolling in art school was the first step on a road that would eventually lead him to study a photographic printing process called three-color carbro. In the course of his accomplished career, Muray would become an expert in this process and play a key role in bringing color photography to America.

While attending art school in Budapest, Muray studied lithography and photoengraving, earning an International Engraver's Certificate. Muray was also introduced to photography during this time period. His combined interest in photography and printmaking led him to Berlin, Germany to participate in a three-year color-photoengraving course. In Berlin, Muray learned how to make color filters, a first step in the craft that would one day become his trademark. Immediately after the completion of the course, Muray found a good job with a publishing company in Ullstein, Germany. However, the threat of war in Europe forced Muray to flee for America in 1913. Soon after his arrival in New York, Muray was working as a photoengraver for Condé Nast. His specialty was color separations and half-tone negatives.

By 1920, Muray had established a home for himself in the up-and-coming artists' haven of Greenwich Village. He opened a portrait studio out of his apartment and continued to work part time at his engraving job. Harper's Bazaar magazine gave Muray his first big assignment in 1921. The project was to photograph Broadway star Florence Reed. The magazine was so impressed with his photographs that they began to publish his work monthly. This allowed him to give up his part time job and work solely as a photographer. It did not take long for Muray to become one of the most renowned portrait photographers in Manhattan. Muray spent much of the early 1920s photographing the most famous and important personalities in New York at the time.

In his spare time Muray enjoyed fencing. In 1927, he won the National Sabre Championship and in 1928 and 1932, he was on the United States Olympic Team. During World War II, Muray was a flight lieutenant in the Civil Air Patrol.

Location

Currently not on view

Object Name

photograph

Physical Description

paper (overall material)

Measurements

overall: 50.4 cm x 40.5 cm; 19 13/16 in x 15 15/16 in

See more items in

Work and Industry: Photographic History

Nickolas Muray

Art

Photography

National Museum of American History

GUID (Link to Original Record)

http://n2t.net/ark:/65665/ng49ca746aa-577d-704b-e053-15f76fa0b4fa

# data[].attributes.attachment_link.description
depicted (sitter) Kahlo, Frida Muray, Nickolas Description (Brief) A 3-color Carbro photograph: "Frida Kahlo de Rivera," by Nickolas Muray, 1946. Color carbro portrait of artist Frida Kahlo de Rivera ca. 1946. Kahlo wears a pink scarf around her head and neck. Recto: Signed and dated by artist (pencil). Verso: Muray label.

# data[].attributes.attachment_link.readable_text
Object Details

Artist

Fernando Botero, Colombian, b. Medellín, 1932

Provenance

The artist, Paris, to 19 May 1980

Joseph H. Hirshhorn, New York and Washington, DC., 19 May 1980-31 August 1981

(Estate of Joseph H. Hirshhorn, 1981-1986)

Joseph H. Hirshhorn Bequest, 1981

Exhibition History

MUSEUM OF LATIN AMERICAN ART, Long Beach, CA. "Smithsonian Affiliate Program," March 2001 - September 2004.

Credit Line

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, The Joseph H. Hirshhorn Bequest, 1981

Accession Number

86.541

Medium

Oil on linen

Dimensions

74 3/4 X 60 1/2 in. (189.9 X 153.7 cm)

See more items in

Hirshhorn Museum and Sculpture Garden Collection

School

Hispanic Contemporary

Hirshhorn Museum and Sculpture Garden

GUID (Link to Original Record)

http://n2t.net/ark:/65665/py2e5355685-d938-4504-b252-b9b1de793d88

# data[].attributes.attachment_link.description
Artist Fernando Botero, Colombian, b. Medellín, 1932 Provenance The artist, Paris, to 19 May 1980 Joseph H. Hirshhorn, New York and Washington, DC., 19 May 1980-31 August 1981 (Estate of Joseph H. Hirshhorn, 1981-1986) Joseph H. Hirshhorn Bequest, 1981 Exhibition History MUSEUM OF LATIN AMERICAN ART, Long Beach, CA.

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This was interesting to me becaues itg looks like a man is on fire.

# data[].attributes.subject
This was interesting to me becaues itg looks like a man is on fire.

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I had picture because it looks like they having a culture rituals and the clothing looks interesting and weird in a good way.

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Object Details

Artist

Rubén Ortiz Torres, born Mexico City, Mexico 1964

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center

Copyright

© 1994, Rubén Ortiz-Torres

Restrictions & Rights

Usage conditions apply

Medium

chromogenic print

Dimensions

image: 15 1/4 × 22 1/4 in. (38.7 × 56.5 cm) sheet: 20 × 24 in. (50.8 × 61.0 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

Smithsonian American Art Museum

Topic

Figure group

Dress\costume

Ceremony\festival

History\United States\California

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk766a6467d-8532-47b1-b269-08612ead3f07

# data[].attributes.attachment_link.description
Artist Rubén Ortiz Torres, born Mexico City, Mexico 1964 Credit Line Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center Copyright © 1994, Rubén Ortiz-Torres Restrictions & Rights Usage conditions apply Medium chromogenic print Dimensions image: 15 1/4 × 22 1/4 in.

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I chose this work because it really just caught my attention. The transition just shows alot about latino art. When they say that the color represented the appearance and language of this major American metropolis I was thinking maybe the bright colors represented attention and greatness because of something so bright. I also thought this because they said it became internationalized after the 1930s. If you think about it the neighborhoods in the mexican community is all structured the same. It definitely changed the game.

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Object Details

Artist

Emilio Sánchez, born Camagüey, Cuba 1921-died Warwick, NY 1999

Exhibition Label

In the 1980s, Sánchez turned to the urban landscape of New York, where commercial establishments like bodegas (corner stores) evoked places and people from the Caribbean. La Rumba Supermarket is named after a signature Cuban rhythm that became internationalized after the 1930s. The brightly hued structure reflects the color palette of Caribbean domestic architecture and suggests the ways Latino culture transformed the appearance and "language" of this major American metropolis

Our America: The Latino Presence in American Art, 2013

Credit Line

Smithsonian American Art Museum, Gift of the Emilio Sanchez Foundation

Copyright

© Emilio Sanchez Foundation

Restrictions & Rights

Usage conditions apply

Medium

watercolor on paper

Dimensions

sheet and image: 40 x 59 1/2 in. (101.6 x 151.1 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

Smithsonian American Art Museum

Topic

Cityscape\New York\Bronx

Architecture Exterior\commercial\store

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk7af852fdc-a064-4a39-ba17-181f2362854c

# data[].attributes.attachment_link.title
Untitled, Bronx Storefront, "La Rumba Supermarket"

# data[].attributes.attachment_link.description
Artist Emilio Sánchez, born Camagüey, Cuba 1921-died Warwick, NY 1999 Exhibition Label In the 1980s, Sánchez turned to the urban landscape of New York, where commercial establishments like bodegas (corner stores) evoked places and people from the Caribbean. La Rumba Supermarket is named after a signature Cuban rhythm that became internationalized after the 1930s.

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This is very interesting to me because it's like a family tree. This caught my eye also because it had this Christmas type vibe and maybe it's them honoring there family and ancestors.

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Object Details

Artist

Pepón Osorio, born Santurce, Puerto Rico 1955

Gallery Label

Osorio created El Chandelier for a performance piece that explored the life of a Puerto Rican woman living in New York. The fixture is encrusted with doll babies, toy bowling pins, palm trees, plastic animals, and sculptures of saints-the cheap, brightly colored decorations called chucherías that appear in "Nuyorican" households.

El Chandelier is dazzling and light hearted, but the illusion of abundance masks the realities of life in poor urban communities. Osorio saw this kind of making-do aesthetic-creating something wonderful out of nothing-in the apartments he visited when he worked as a social worker. El Chandelier, with its mixed Spanish and English title, suggests the lives of people who find themselves moving between two cultures, making a feast for the eye as a compensation.

Exhibition Label, Smithsonian American Art Museum, 2011

Exhibition Label

When Osorio worked as a social worker in New York City he often saw elaborate chandeliers hanging in humble apartment homes. This experience led him to appreciate the meaning behind buying tchotchkes and expensive-looking objects. The plastic palm trees, coquis (iconic Puerto Rican frogs), dominos, and tassels that adorn his light source suggest coping mechanisms in the face of adversity and migration. Sculptures of Catholic saints and variously complexioned dolls reference Afro-Caribbean spiritual systems and racial hierarchies. Spanish and English mingle in the work's title, conjuring a space between cultures and realities.

Our America: The Latino Presence in American Art, 2013

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool and the Smithsonian Institution Collections Acquisition Program

Copyright

© 1988, Pepón Osorio

Restrictions & Rights

Usage conditions apply

Type

Decorative Arts-Furniture

Medium

functional metal and glass chandelier with plastic toys and figurines, glass crystals, and other objects

Dimensions

60 7/8 x 42 in. (154.6 x 106.7 cm) diam.

See more items in

Smithsonian American Art Museum Collection

Department

Decorative Arts

Smithsonian American Art Museum

Topic

Object\toy\doll

Object\furniture\lamp

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk7dd488741-820f-4f0e-b7b7-0cfcc8673e3e

# data[].attributes.attachment_link.description
Artist Pepón Osorio, born Santurce, Puerto Rico 1955 Gallery Label Osorio created El Chandelier for a performance piece that explored the life of a Puerto Rican woman living in New York. The fixture is encrusted with doll babies, toy bowling pins, palm trees, plastic animals, and sculptures of saints-the cheap, brightly colored decorations called chucherías that appear in "Nuyorican" households.

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I really loved the mood of this picture. It looks like he's on the in this picture.

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In a prolific yet short-lived career, Jean-Michel Basquiat became a leading figure in the 1980s art world. Having run away from home as a teenager, he supported himself initially by selling homemade postcards and sweatshirts on the street.

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I chose this because it looks like different women of the Latin culture. It shows how they all have different styles and different appearances. Hair may differ to.

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Object Details

Artist

Feliciano Peña, Mexican, born Silao, Mexico 1915-died 1982

Credit Line

Smithsonian American Art Museum, Bequest of Olin Dows

Object number

1983.90.230

Restrictions & Rights

Usage conditions apply

Medium

oil on canvas

Dimensions

21 5/8 x 15 3/4 in. (55.0 x 40.0 cm)

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Smithsonian American Art Museum Collection

Department

Painting and Sculpture

Smithsonian American Art Museum

Topic

Landscape\mountain

Landscape\Mexico

Cityscape\town

Record ID

saam_1983.90.230

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk7c29cea84-b67a-41f2-969c-a20963e32b88

# data[].attributes.attachment_link.description
Artist Feliciano Peña, Mexican, born Silao, Mexico 1915-died 1982 Credit Line Smithsonian American Art Museum, Bequest of Olin Dows Object number 1983.90.230 Restrictions & Rights Usage conditions apply Medium oil on canvas Dimensions 21 5/8 x 15 3/4 in.

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Object Details

Artist

Feliciano Peña, Mexican, born Silao, Mexico 1915-died 1982

Credit Line

Smithsonian American Art Museum, Bequest of Olin Dows

Object number

1983.90.230

Restrictions & Rights

Usage conditions apply

Medium

oil on canvas

Dimensions

21 5/8 x 15 3/4 in. (55.0 x 40.0 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Painting and Sculpture

Smithsonian American Art Museum

Topic

Landscape\mountain

Landscape\Mexico

Cityscape\town

Record ID

saam_1983.90.230

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk7c29cea84-b67a-41f2-969c-a20963e32b88

# data[].attributes.attachment_link.description
Artist Feliciano Peña, Mexican, born Silao, Mexico 1915-died 1982 Credit Line Smithsonian American Art Museum, Bequest of Olin Dows Object number 1983.90.230 Restrictions & Rights Usage conditions apply Medium oil on canvas Dimensions 21 5/8 x 15 3/4 in.

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I chose this photo because it showcases Latinx culture and the way that they dress it look similar to native Americans to me that's another reason i chose this

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I chose this piece because of how much stereotyping gets done to the Latinx community. They are called lazy, musty, and dumb just because they don't understand the english language really well.

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Object Details

Artist

Carmen Lomas Garza, born Kingsville, TX 1948

Exhibition Label

Lomas Garza's folk-styled works document the lives of Mexican Americans and often portray memories of her own family in South Texas. In Camas para Sueños (Beds for Dreams) the artist and her sister sit on their roof dreaming of becoming artists, while their mother below maintains a traditional home. Lomas Garza's deceptively straightforward images offer uncommon glimpses of American daily life as it unfolds in many Chicano communities.

Our America: The Latino Presence in American Art, 2013

Credit Line

Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool and the Smithsonian Institution Collections Acquisition Program

Copyright

© 1985, Carmen Lomas Garza

Restrictions & Rights

Usage conditions apply

Medium

gouache on paper

Dimensions

sheet: 28 1/8 x 20 1/2 in. (71.4 x 52.1 cm) sight: 23 x 17 1/2 in. (58.4 x 44.3 cm)

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Smithsonian American Art Museum Collection

Department

Graphic Arts

Smithsonian American Art Museum

Topic

Landscape\celestial\moon

Landscape\time\night

Figure group\female

State of being\phenomenon\dream

Architecture Exterior\domestic\house

Architecture Exterior\domestic\bedroom

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk7d2f52f66-fc04-4639-b12f-0e680c461964

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Artist Carmen Lomas Garza, born Kingsville, TX 1948 Exhibition Label Lomas Garza's folk-styled works document the lives of Mexican Americans and often portray memories of her own family in South Texas. In Camas para Sueños (Beds for Dreams) the artist and her sister sit on their roof dreaming of becoming artists, while their mother below maintains a traditional home.

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i chose this work because it caught my eye. It looks like a cool buidling and a cool place to go to. I like the colors there very nice colors.

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The Smithsonian American Art Museum's leading Latinx art collection represents a profound commitment to building a great national collection reflecting the rich contributions of Latinos to our country, from the colonial period to the present.

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I chose this work because it depicts the meaning of true love. In this work it shows a woman of a slightly larger body. The man loves her for who she is and not what she looks like.

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Object Details

Artist

Fernando Botero, Colombian, b. Medellín, 1932

Provenance

Marlborough Gallery, New York, to 21 November 1975

Joseph H. Hirshhorn, New York and Washington, DC, 21 November 1975-31 August 1981

(Estate of Joseph H. Hirshhorn, 1981-1986)

Joseph H. Hirshhorn Bequest, 1981

Credit Line

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, The Joseph H. Hirshhorn Bequest, 1981

Accession Number

86.543.A-B

Medium

Chalk, pencil, and ink on paper / verso: pencil and chalk on paper

Dimensions

13 15/16 X 11 in. (35.4 X 27.9 cm)

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Hirshhorn Museum and Sculpture Garden Collection

School

Hispanic Contemporary

Hirshhorn Museum and Sculpture Garden

GUID (Link to Original Record)

http://n2t.net/ark:/65665/py2a681b48f-32d2-4b17-9f88-ebe18504a3be

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Artist Fernando Botero, Colombian, b. Medellín, 1932 Provenance Marlborough Gallery, New York, to 21 November 1975 Joseph H. Hirshhorn, New York and Washington, DC, 21 November 1975-31 August 1981 (Estate of Joseph H. Hirshhorn, 1981-1986) Joseph H. Hirshhorn Bequest, 1981 Credit Line Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, The Joseph H.

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I chose this photo because it represents the Lantinx identity.This photo really caught my attention because it shows a symbol of their culture.

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Object Details

Artist

Gregorio Marzan, born Vega Baja, Puerto Rico 1906-died New York City 1997

Luce Center Label

Like many immigrants to the United States, Gregorio Marzan considered the Statue of Liberty an important symbol of freedom. He created many versions of the statue and in this piece portrayed Lady Liberty in heavy make-up and gaudy clothing. Marzan's use of found objects, including the glue caps in the crown, relates to the Latin American tradition of creating personal shrines and totems from everyday objects.

Credit Line

Smithsonian American Art Museum, Gift of Chuck and Jan Rosenak and museum purchase through the Luisita L. and Franz H. Denghausen Endowment

Object number

1997.124.72

Restrictions & Rights

Usage conditions apply

Medium

mixed media: plaster, fabric, glue, light bulb, Elmer's Glue caps, and wig

Dimensions

64 1/2 x 30 x 7 in. (163.8 x 76.2 x 17.8 cm)

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Smithsonian American Art Museum Collection

Department

Painting and Sculpture

Smithsonian American Art Museum

Topic

Dress\accessory\jewelry

Monument\statue\Statue of Liberty

Record ID

saam_1997.124.72

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk742ee750d-1302-44ce-b4b6-785df0bdd3d8

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Artist Gregorio Marzan, born Vega Baja, Puerto Rico 1906-died New York City 1997 Luce Center Label Like many immigrants to the United States, Gregorio Marzan considered the Statue of Liberty an important symbol of freedom. He created many versions of the statue and in this piece portrayed Lady Liberty in heavy make-up and gaudy clothing.

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This grabbed my attention because what i see is the person following the dog into a unknown corner. That can symbolize how Latinx people go into situations all of the time not knowing what to expect. Also it can symbolize how sometimes they have to go with the flow on a lot of things if they live in the U.S., but mainly of they are new.

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Object Details

Artist

Fernando Botero, Colombian, b. Medellín, 1932

Provenance

The artist, Paris, to 19 May 1980

Joseph H. Hirshhorn, New York and Washington, DC., 19 May 1980-31 August 1981

(Estate of Joseph H. Hirshhorn, 1981-1986)

Joseph H. Hirshhorn Bequest, 1981

Exhibition History

MUSEUM OF LATIN AMERICAN ART, Long Beach, CA. "Smithsonian Affiliate Program," March 2001 - September 2004.

Credit Line

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, The Joseph H. Hirshhorn Bequest, 1981

Accession Number

86.541

Medium

Oil on linen

Dimensions

74 3/4 X 60 1/2 in. (189.9 X 153.7 cm)

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Hirshhorn Museum and Sculpture Garden Collection

School

Hispanic Contemporary

Hirshhorn Museum and Sculpture Garden

GUID (Link to Original Record)

http://n2t.net/ark:/65665/py2e5355685-d938-4504-b252-b9b1de793d88

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Artist Fernando Botero, Colombian, b. Medellín, 1932 Provenance The artist, Paris, to 19 May 1980 Joseph H. Hirshhorn, New York and Washington, DC., 19 May 1980-31 August 1981 (Estate of Joseph H. Hirshhorn, 1981-1986) Joseph H. Hirshhorn Bequest, 1981 Exhibition History MUSEUM OF LATIN AMERICAN ART, Long Beach, CA.