Pre-Columbian
My study of Pre-Columbian art began with the discovery of Miguel Covarrubias’ book “Indian Art of Mexico & Central America. A brilliant polymath, he’s also mentioned in my section on the Goddesses series, where he is the creator of the satirical caricature series “Impossible Interviews” in Vanity Fair & Vogue magazines published by Condé Nast in the 1930’s, as well as in the New Yorker.
Covarrubias’ magnum opus a beautiful book whose stunning illustrations in colour &, black & white are by the author, as is the brilliant art historical analysis of this wonderful art culture of ancient America. He is completely responsible for all aspects of this masterpiece of the designer’s art, including typography. His analysis surpasses the knowledge/comprehension of his Harvard rivals, making him the leading authority of his time. I have never seen a peer on this subject, and it remains one of my 10 favorite books. The scholarly drawings inspired my journal pen & ink drawings I made of examples from this culture. Covarrubias had a wing of the National Museum of Anthropology in Mexico City named after him. He & Diego Rivera, the great Mexican muralist were close friends. He was mentored by Carl van Vechten, music critic of the New York Times, who also mentored a favorite poet, Langston Hughes.
One of the things I did when I was Curatorial Assistant to the Director of the Detroit Institute of Arts, in charge of their collection, was to photograph some of the outstanding works they possessed. I also made several survey trips to Mexico, as well as to Belize & Guatemala to study the magnificent ancient architecture, especially the exquisite Classic Maya, who used the Golden Rectangle in their architectural design. My favorite sites were Palenque, Chichen Itza, Tikal, Uxmal, Quirigua & Dzibilchaltun. At the last site I spent an day snorkeling in the cenote, which held art thrown in during religious ceremonies.
I also loved Maya calligraphy, an outstanding oeuvre as depicted in the Dresden Codex, murals, ceramics, & jade.
Seminal exhibit which educated me were the “Before Cortes” show at the Met in 1970. “The Maya Scribe & His World”, 1973, curated by Yale scholar Michael Coe at the Grolier Club in New York City; the latter featured a newly discovered Maya work, the Grolier Codex.
Some of the authorities who extended their gracious mentorship included Gordon Ekholm, Curator of Mexican & Central American archaeology at the Museum of Natural History, Edward H. Merrin the premiere dealer of Pre-Columbian Art, his near peer Andre Emmerich, & Robert Wauchope at Middle American Research Institute at Tulane University in New Orleans.
My ethnopharmocological research south of the border also gave me important insight in the proper perception & comprehension & appreciation of these wonderful art cultures, again especially the Maya who were mathematical & astronomical mavens with their own unique beautiful artworks on the same level of accomplishment as my favorites, the ancient Greeks.
Over the years I encountered & studied unknown world class masterpieces of world art available to wealthy collectors of this culture, seemingly in random encounters, including the carved stone vessel of the Izapa style currently on exhibit at the Met. I’m truly magnetized to the beautiful art of ancient Mesoamerica.
