What Do You See? The Collection of Sidney Rothberg, Part II

The work of Venezuelan/American artist Marisol (born Marisol Escobar in Paris in 1930) defies easy categorization, variably embracing Pop Art's vibrancy and Surrealism's dreamlike quality, while exhibiting a subtle yet trenchant social commentary. Sculptures like The Party (1965, Toledo Museum of Art) employ life-size figures, all bearing the artist's own face, to satirize societal façades and conformity. Meanwhile, pieces like Women and Dog (1964, Whitney Museum of American Art) impart a witty commentary on femininity tinged with critique, prompting viewers to question prescribed roles and identities. Marisol's exploration of family dynamics, power structures, and consumerism transcended mere trends, solidifying her as a distinct voice within the turbulent 1960s. Her occasional forays into drawing and painting, as in the present lot and lot 217 (Abstract), offer a counterpoint to her better-known three-dimensional works and number among a vast corpus of works on paper that ranges from preparatory sketches for her monumental sculptures to so-called “confessional drawings” to the many late-career drawings she executed following her Alzheimer’s diagnosis.