Lot 103: CARLOS LUNA, (CUBAN, B. 1969), "AY MAMÁ LLORÓN"
December 6, 2016
Philadelphia, PA, USALive Auction
(cuban, b. 1969)
"AY MAMÁ LLORÓN"
Signed bottom right and signed, titled and dated 17-2-97 verso, oil on canvas.
47 1/4 x 59 in. (120 x 149.9cm)
Private Collection, New Jersey (acquired directly from the above in 1997).
"Carlos Luna: Yo Traigo de Todo," Casa de los Muñecos, Museo Universitario, Universidad Autónoma de Puebla, Puebla, Mexico, December 10, 1997-January 25, 1998 (illustrated p. 49).
We are grateful to the Artist for his assistance in cataloguing this lot, which is accompanied by a certificate of authenticity with his signature.
With very minor wear where the frame meets the canvas at the extreme edges in a few areas. For example, intermittenly at the left vertical edges including some very minor loss to the paint (see images) and also at the bottom and middle of the extreme right vertical edge. With the faintest traces of occasional surface soiling in a few very small areas. These are unobtrusive. The green horizontal band at the bottom is more thinly applied, with various colors showing through the top layer of green. This appears to be inherent to the working method of the artist.
Also, please note that the painting is mis-titled "Hay Mama Lloron" verso. We've confirmed with the artist that this is a mistake and that the correct title is "Ay Mama Lloron".
Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.
''Ay Mamá Llorón'' is a powerful and provocative image. Striking in its scale
and animated by intense color, the painting is composed of bold geometric
forms and a dramatically flattened picture plane. These formal devices inject the painting with an arresting immediacy that both demands and captivates the viewer''s attention. Its subject matter is also rich in symbolic meaning that invites interpretation and stimulates further contemplation. The painting depicts the Rape of Europa, the ancient myth in which Zeus, the king of the gods, transforms himself into a bull in order to abduct a beautiful maiden of whom he was enamored. In his reinterpretation, Luna uses the myth as a metaphor, seizing upon the pathos of this classic story in order to comment on the political anguish of his native Cuba. Here, the bull represents Cuba''s dictator who has long held captive the beautiful island, embodied by the vulnerable woman who lay at his feet. Yet he portrays the bull with a single tear, shed as a result of the woman''s indifference to him. The two main subjects of the painting are surrounded by water with the fortress ''El Morro de la Habana'' in the distance- a further reference to Cuba.