[1] Quoted in Michael Brenson, “Rufino Tamayo, a Leader in Mexican Art, Dies at 91,” The New York Times, June 25, 1991.
[2] Hollister Sturges, “Rufino Tamayo: 1899–,” in Art of the Fantastic: Latin America, 1920–1987, exh. cat. (Indianapolis: Indianapolis Museum of Art, 1987), 94. “Although Tamayo and the Muralists agreed that the Revolution liberated Mexicans from ingrained ideas of racial and cultural inferiority, they differed in their response to this new-found freedom. The Muralists monumentalized the struggle of the Revolution, recording the historic facts and idealizing the pre-Cortesian past. Tamayo, on the other hand, was interested in linking the new national identity to a universal tradition.”
[3] Ibid.
[4] Ingrid Suckaer, “Chronology,” in Tamayo: A Modern Icon Reinterpreted, exh. cat. (Santa Barbara, CA: Santa Barbara Museum of Art, 2006), 416.
[5] Quote reproduced in Brenson, “Rufino Tamayo, a Leader in Mexican Art, Dies at 91.”
[6] Emily Genauer, Rufino Tamayo (New York: Harry N. Abrams, Inc., 1974), 36.
[7] See Suckaer, “Chronology,” 420; Sturges, 97–98.
[8] Sturges, 97–98.
[9] Quoted in Suckaer, “Chronology,” 421–22.
[10] See chronology in Rufino Tamayo: Trayectos=Trajectories, exh. cat. (Mexico City: Museo Tamayo Arte Contemporáneo, 2012), 160.
[11] Numbers from John Russell, “Art: Double Salute to Mexico’s Tamayo,” The New York Times, May 18, 1979.