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Marc Trujillo
517 East 117th Street

2016

About the Item

Every detail in Trujillo’s fast-paced, consumer-driven environments is the result of slow painting, of careful and keen observation, both analytic and synthetic. Trujillo depicts his contemporary urban surroundings with such detail and lucidity that one feels instantly transported—somewhere, nowhere, to a place we all know, or think we know. Although he uses photographs for reference, Trujillo’s paintings are not photorealistic. His three-dimensional space and myriad light sources cannot be found in a single camera shot or in the neutral, objective realism of a photograph. Instead, his paintings are based on direct observation, color sketches, and rigorous drawing, as well as dedication to the panoramic landscapes and interiors of seventeenth-century Dutch Masters. Trujillo cites artists such as Vermeer, Velazquez, and Rembrandt as inspiration for his craft of painting, and the importance of control over formal elements. For Trujillo, light is what holds his paintings together as he creates shifting temperatures throughout the compositions where mood and atmosphere are carefully orchestrated. Like frames from a motion picture, Trujillo’s scenes and the characters in them are ultimately invented and placed with purpose. Painting from what he calls “the middle ground of common experience,” Trujillo uses his environments as the foundation for a personal vision. Ever mindful that his paintings are neither “critique nor worship,” he distances himself from human dramas and avoids overt irony and fantasy. In spite of this, Trujillo’s scenes force us to look closely at the world around us, revealing truths that evoke discomfort or elicit thought and self-examination. Ultimately, Trujillo’s paintings are about painting. Interpretation is left to the viewer. Born in Albuquerque in 1966, Trujillo received his B.F.A. from the University of Texas at Austin, and his M.F.A. from Yale University. Since then, Trujillo has shown widely on both East and West coasts, including solo exhibitions in San Francisco, Los Angeles, and New York. A recipient of the 2001 Louis Comfort Tiffany Foundation Award, Trujillo was awarded a John Simon Guggenheim Memorial Fellowship in 2008.
  • Creator:
  • Creation Year:
    2016
  • Dimensions:
    Height: 25 in (63.5 cm)Width: 44 in (111.76 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    New York, NY
  • Reference Number:
    Seller: M 10123D.0341stDibs: LU233903932
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Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. 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