A Surrealist Social Network: Hindman Presents Figuratively Speaking
Widely known for her expertise in Latin American studies, Florence Arquin (1900-1974) went by many titles throughout her life—painter, documentary photographer, educator, writer, and critic. A renaissance woman of the 20th century, Arquin spent most of her life in Chicago and Mexico where she cultivated a robust social network of artistic friends including Diego Rivera, Frida Kahlo, Wolfgang Paalen, Alice Rahon, and Carlos Mérida, among others. Beyond Latin America, Arquin’s presence was felt in the Chicago art world where she cultivated a similar network of friendships with individuals including Kathleen Blackshear and Ethel Spears.
Showcased in Hindman’s February 10th auction Figuratively Speaking, Arquin’s network of artistic talent is seen in the 21 avant-garde and surrealist works on sale from the Carol Williams Collection.
Explore offerings from this collection, including insights into the lives of these talented artists below:
Lot 66 – Wolfgang Paalen (Austrian/Mexican, 1905-1959) | Untitled, 1943
Of Austrian origin, Parisian beginnings, and Latin American endings, Wolfgang Paalen’s journey as an artist is one of winding roads and vibrancy. Meeting his wife Alice Rahon in 1934 whilst in Paris, Paalen was an instrumental figure in the country’s burgeoning surrealist movement. Surrounding themselves with icons of the movement, Paalen and Rahon became fast friends with Andre Breton, Juan Miró, Man Ray, and Pablo Picasso, thus developing a teeming ecosystem of artistry.
After establishing a base in Europe, Paalen, and Rahon traveled to the United States and Latin America where their artistic influences began to evolve. Throughout their travels the duo was profoundly affected by totemic and indigenous imagery. This trip resulted in them engaging with and befriending Frida Kahlo and Diego Rivera, further developing their artistic practice and social circle.
Seen above, Untitled by Wolfgang Paalen represents the confluence of a myriad of geographic influences. Gifted to friend Florence Arquin, Untitled (1943) is emotive and meticulous, featuring splashes of movement and color. Through Arquin’s preservation of her gifts, she gives the viewer a glimpse into the lives of these enigmatic artistic powerhouses.
Lot 55 – Alice Rahon (French/Mexican, 1904-1987) | Untitled, 1946
Untitled (1946) by Alice Rahon exemplifies the previously mentioned confluence of regional influences in the artist’s practice. Characterized by windows of bright yellow and shimmering blue, the work showcases both the vibrancy of the surrealist movement and the organic influence of the Americas wrapped up in one composition. Known as a shapeshifter to her cohort, Alice Rahon’s life and work reflects this in her ability to make friends with a wide cast of characters. In her travels to Mexico with Paalen, Rahon quickly befriended surrealist icon Frida Kahlo, commiserating over their shared childhood experiences and shared artistic influence.
Her tenderness and fondness for her friends extends to the work above, gifted to Arquin with the word cariñoso (caring) inscribed in the lower right corner. Her unique viewpoint as artist is reflected in the two works highlighted in Figuratively Speaking, carefully preserved by confident Florence Arquin.
Lot 10 – Kathleen Blackshear (American, 1897-1988) | Portrait (Florence Arquin)
The portrait seen above by American artist Kathleen Blackshear features friend and patron Florence Arquin seated and posed with a colorfully patterned collared dress. This work reflects the artist’s interest in portraiture and connection to Arquin through the Chicago art scene. A fellow artist-educator, Blackshear exhibited this work at the Thirty-Seventh Annual Exhibition by Artists of Chicago and Vicinity in 1933.
Lot 4 – Florence Arquin (American, 1900-1974) | Untitled (City View with Churches)
Born in New York City and a woman of many talents, Florence Arquin’s artistic prowess cannot be understated. Seen in Untitled (City View with Churches), Arquin’s landscape exhibits her “ardent work and exuberance of style” as dubbed by friend Diego Rivera. Expanding on his characterization, Rivera commented on her work during a 1943 solo exhibition in Mexico City stating “Florence Arquin sees with every pore of her skin. Her nerves absorb the vibration of color, the inflections of the forms, the quality of the earth, of the air, and of the light, for the purpose of synthesizing all of these in her painting.” Such reverence for her and her practice shines a light on her skill as artist as well as her capacity for meaningful and long-lasting friendship.
Lot 22 – Diego Rivera (Mexican, 1886-1957) | Men at Work, 1956
Rounding out this dazzling social network is Diego Rivera, an iconic figure of 20th century Mexican art. A champion of Arquin’s work and titan of mural painting, Rivera showcases his extensive artistic process in Men at Work (1956) seen above. This preliminary drawing detailing two men engaged in outdoor physical labor gives the viewer a glimpse into the artist’s micro to macro range with murals, as well as his relationship with Arquin. Lovingly inscribed into the painting is the phrase “a Florence Arquin con todo mi amor” (to Florence Arquin with all my love.)