Z všech obrazů autora Pedro Coronel je nejznámější dílo Remanso al sol (Haven in the Sun) (1984); visí v Inter-American Development Bank, Washington, D.C.. Hned za nimi následují Untitled a Ventana de la rue San Simon. Z 3 děl umělce Pedro Coronel v našem katalogu je těchto 3 nejuznávanějších, z nichž každé je uvedeno s datem vzniku, muzeem a příběhem.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026.
In the vibrant landscape of mid-century Mexican abstraction, few works capture the pulse of energy quite like Pedro Coronel’s Remanso al sol (Haven in the Sun). Created in 1984, during the twilight of the artist's prolific career, this masterpiece serves as a breathtaking testament to the power of color and the fluidity of form. At first glance, the viewer is enveloped by an intense, pulsating red that dominates the canvas,…
Muzeum s největším počtem obrazů na této stránce.
| Muzeum | Město | Díla autora Pedro Coronel | Obrazy z tohoto seznamu |
|---|---|---|---|
 Inter-American Development Bank |
Washington, D.C. | 1 | Remanso al sol (Haven in the Sun) |
Rok 1984 zahrnuje všechna plátna s datem vzniku od Pedro Coronel na této stránce: zde jsou, od těch nejslavnějších.
In the vibrant landscape of mid-century Mexican abstraction, few works capture the pulse of energy quite like Pedro Coronel’s Remanso al sol (Haven in the Sun). Created in…
Remanso al sol (Haven in the Sun) (1984), Inter-American Development Bank, Washington, D.C.. Následují Untitled a Ventana de la rue San Simon.
Pedro Coronel, narozen 1923, měl 61 let: dílo Remanso al sol (Haven in the Sun) pochází z roku 1984.
V našem katalogu je 3 děl umělce Pedro Coronel.
Většinou v Inter-American Development Bank (Washington, D.C.); výše uvedený seznam obsahuje názvy jednotlivých muzeí a jejich pláten.
Pedro Coronel (1923-1985) stands as a pivotal figure in mid-20th century Mexican art, a sculptor and painter whose work defied easy categorization. Belonging to the “Generación de la Ruptura,” he spearheaded an era of innovation within Mexican artistic circles, pushing beyond the established conventions of muralism while retaining a deep respect for pre-Hispanic heritage and color theory. His journey, marked by periods of intense study in Europe and a profound connection to his native Zacatecas, culminated in the creation of a distinctive visual language that continues to resonate with collectors and art enthusiasts today. Coronel’s legacy is further cemented by the Museo Pedro Coronel in Zacatecas, a testament to his artistic vision and a repository of his remarkable collection.
Born on March 25, 1922, in Jerez, Zacatecas, to an upper-middle-class family with musical roots – his mother played the violin and father the clarinet and violin – Coronel’s early life was steeped in artistic appreciation. His childhood was far from conventional; a restless spirit and rebellious nature led him to frequently skip school, preferring instead to spend his time observing the skilled stonemasons at a local quarry. This fascination with form and material would profoundly influence his later sculptural work. He cultivated a diverse collection of objects – tops, marbles, puppets – reflecting an early interest in art from across the globe. This passion ultimately steered him towards formal training at the Escuela Nacional de Pintura, Escultura y Grabado “La Esmeralda” when he was just thirteen years old, placing him under the tutelage of influential masters like Diego Rivera, José Clemente Orozco, and Frida Kahlo.
Coronel’s artistic trajectory began with a focus on sculpture, but it was Santos Balmori's encouragement that led him to embrace painting. This shift proved transformative, unlocking his ability to manipulate color in ways previously unexplored. His early training within the muralist tradition instilled a deep appreciation for pre-Hispanic themes and vibrant palettes – echoes of Rivera’s monumental works are undeniably present. However, Coronel quickly moved beyond mere imitation, drawing inspiration from Rufino Tamayo's exploration of Mexican identity through abstraction and incorporating influences from European modernism, particularly the Parisian art scene. He spent significant periods in Paris during the 1940s and late 1940s, immersing himself in the work of artists like Victor Brauner and Constantin Brancusi, whose experimental approaches to form and material profoundly impacted his own style.
Coronel’s mature works are characterized by a dynamic interplay between figuration and abstraction. His paintings often depict stylized figures – sometimes reminiscent of pre-Hispanic deities or mythological beings – rendered in bold, saturated colors. He masterfully employed layering techniques and gestural brushstrokes to create a sense of movement and energy. His sculptures similarly embraced this duality, frequently combining recognizable forms with abstract elements, resulting in pieces that are both visually arresting and emotionally evocative. His later works, created during his time in Paris, explored themes of eroticism and the beauty of natural form, reflecting a shift towards a more sensual and expressive style.
Recognized throughout Mexico, the United States, and Europe, Coronel’s work gained considerable acclaim during his lifetime. He was awarded the Premio Nacional de Artes in 1984, a prestigious recognition of his contributions to Mexican art. Shortly before his death on May 23, 1985, from a stroke, he generously donated his extensive personal art collection to the people of Mexico, ensuring its preservation and accessibility for future generations. This donation led directly to the establishment of the Museo Pedro Coronel in Zacatecas, which now stands as a vital cultural institution showcasing his remarkable oeuvre and offering visitors a profound insight into the life and work of this extraordinary Mexican artist. His legacy continues to be celebrated through exhibitions and reproductions, solidifying his place as one of Mexico’s most important 20th-century artists.
Pedro Coronel’s younger brother, Rafael Coronel (1931 – 2019), followed in the family artistic tradition with a distinct focus on representational painting. While sharing a common heritage and artistic environment, Rafael developed a markedly different style than his brother, characterized by a melancholic sobriety and a deep engagement with the past.
Rafael’s artistic path demonstrates a fascinating parallel and divergence from Pedro's, highlighting the complex interplay of family influence and individual expression within the broader context of Mexican art.
