Lot 255, Auction 4/3/2026: Rodolfo Morales Engraving – Trilogia

$910.00

In stock

Rodolfo Morales (Mexican, 1925-2001). Trilogia. Color lithograph, n.d. Edition 16 of 40. Hand-signed and numbered beneath impression. A theatrical arrangement of figures and architecture unfolds across three adjoining panels, each saturated with deep violets, earthen reds, and muted greens that define Morales’ dreamlike visual language. Often referred to as “Trilogia,” the composition reads as a structured sequence – three scenes set side by side, unified by geometry, repetition, and the commanding presence of women. At left, a monumental female figure stands frontal, her oversized face calm and introspective. A radiant geometric starburst overlays her torso like a ceremonial shield or woven textile, while additional profiles flank her head, suggesting multiplicity of identity. Morales frequently placed women at the center of his work, presenting them as the steady foundation of village life. Size of impression: 25.5″ W x 12″ H (64.8 cm x 30.5 cm); of frame: 33.25″ W x 19.5″ H (84.5 cm x 49.5 cm)

Here, the figure is at once individual and emblematic, her stillness counterbalanced by the intricate pattern that animates her form.

The central panel moves inward to an enclosed courtyard framed by rhythmic arcades reminiscent of Oaxacan architecture. Three women stand together beneath a row of rounded columns, each bearing a bold geometric motif across her chest. Below them, a small plaza recedes toward orderly trees and low buildings, echoing the townscapes of Ocotlan de Morelos that remained central to Morales’ imagination. His lifelong dedication to restoring historic structures in Oaxaca finds a visual counterpart here – architecture is not background but active participant, shaping communal life and anchoring human presence.

At right, another monumental female head dominates the panel, crowned with a patterned square that mirrors the starburst seen at left. Above her, elongated arms rise vertically, stylized and slightly exaggerated, reinforcing Morales’ tendency to enlarge hands and faces to heighten emotional impact. The repetition of geometric forms across the triptych creates a subtle kaleidoscopic rhythm, recalling the constructed, shifting compositions he explored in other media.

Throughout the lithograph, Morales blends folklore, symbolism, and a restrained strain of magic realism. Figures hover in a timeless atmosphere, grounded in rural Mexico yet suspended beyond specific narrative. Influences from artists such as Maria Izquierdo and Marc Chagall can be sensed in the flattened space and saturated color, yet the mood remains distinctly his own – contemplative, communal, and centered on the enduring presence of women within village life.

Oaxaca master Rodolfo Morales attended the Academia de San Carlos in Mexico City and taught art at the Escuela Nacional Preparatoria in Mexico City. He was relatively unknown until Rufino Tamayo discovered his work in 1975 at his first solo exhibition in Cuernavaca. Ever since, Morales’ art has been widely exhibited. Highlights include: “Aspects of Contemporary Mexican Painting” at the Americas Society, New York (1990); “Mito y Magia in America” at Museo de Arte Contemporaneo in Monterrey, Mexico (1991); Hechizo de Oaxaca in the Palace of Fine Arts in Mexico City (1992); “Myth and Magic: Oaxaca Past and Present” at the Palo Alto (California) Cultural Center (1994); and “Rodolfo Morales: Juegos y Evocaciones” (1996), a retrospective of Morales’ work opened at the Mexican Museum in San Francisco and toured the United States and Canada. In addition, Morales has had major mural commissions in Oaxaca and Mexico City.

Condition: Mounted behind glass in custom matte and frame; has not been examined outside of glass. A few nicks to frame that do not affect engraving, but otherwise in good condition with old gallery label and suspension wire on verso for display. Some light wrinkling to paper, but otherwise print appears to be in excellent overall condition. Hand-signed and numbered beneath impression.

Provenance: ex-private Moore collection, Denver, Colorado, USA, acquired prior to 1990

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