Lot 196
Rudolph Carl "R.C." Gorman (Navajo, 1931-2005). "Contemplation" hand-colored lithograph in oil pastel on paper, 1977. Edition 106 or 1000. Signed and dated in plate at lower left. Hand-signed beneath image at lower right and numbered beneath image at lower left. A woman folds into herself with quiet weight and warmth, her posture loose yet rooted, her expression lost in thought. R.C. Gorman's "Contemplation" is a lyrical tribute to the Navajo woman - not as idealized symbol, but as living presence. Executed in Gorman's signature style, the figure's flowing lines and softly modeled volume carry a graceful stillness that draws the viewer inward. Rendered in oil pastel with hand-colored richness, this limited edition lithograph exemplifies Gorman's mastery of form through economy. Broad sweeps of earth tone and rose bloom across the surface - the woman's voluminous skirt a halo of grounded color. Size of image: 22.5" W x 19.5" H (57.2 cm x 49.5 cm); of frame: 30.3" W x 27" H (77 cm x 68.6 cm)
Her green blouse is soft yet structural, her bare feet dark and weighty, resting with calm finality on the warm paper ground.
Though rooted in Navajo heritage, Gorman's women transcend cultural specificity. As he once said of this image: "I must work with live models. The model sets the mood. If she is surprising, if she is spontaneous and alive, my work also comes alive. Such is the woman in 'Contemplation.' You can feel her mood. I choose models who have full bodies - something you put two arms around. Their feet are important too. I like big flat feet. Navajo people need good feet in order to survive. It's part of our heritage."
Printed in 1977 and numbered 106 of 1000, this edition was issued during a pivotal decade for Gorman. That same year, he helped promote the "Sacred Circles" exhibition of Native American art and was featured in the acclaimed PBS series "American Indian Artists." The Metropolitan Museum of Art had already named him the only living artist represented in their 1973 show "Masterworks of the Museum of the American Indian", dubbing him "the Picasso of American Indian art."
Born in Chinle, Arizona, near Canyon de Chelly, R.C. Gorman was steeped in Navajo tradition yet forged an unmistakably modern path. From studies in Mexico City and San Francisco to his founding of the Navajo Gallery in Taos, New Mexico, Gorman became both artist and ambassador. His female figures - celebrated for their strength, serenity, and fullness - remain icons of 20th-century Native American art.
About the artist: R.C. (Rudolph Carl) Gorman was born in Chinle, Arizona in 1931 to Adele Katherine Brown and Carl Nelson Gorman, who was a Navajo Code Talker during World War II. Gorman grew up listening to Dine (Navajo) legends and stories of his family history. When he was little, he would draw pictures in the dirt and on rocks while tending sheep. After high school, Gorman served in the United States Navy before attending Northern Arizona University where he studied literature and art. He continued to study and create art at Mexico City College and San Francisco State University. In 1968, Gorman opened the Navajo Gallery showcasing 55 artists. It was the first indigenous-owned fine art gallery in the United States. Gorman's artistic style was heavily influenced by his time in Mexico where he was introduced to stone lithography and the artistic approaches used by Diego Rivera and other Mexican social realist artists. He moved away from more European depictions and began painting strong Navajo women, in honor of those who raised him. Gorman's use of bold colors earned him the title 'Picasso of American Indian Art.' In addition to lithographs, Gorman worked with ceramics, oil pastels, serigraphs, woodcuts, and etchings. R.C. Gorman passed away in 2005." (source: Smithsonian National Museum of the American Indian)
Provenance: private Elizabeth, Colorado, USA collection, acquired prior to 2000
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#195294
- Condition: Signed and dated in plate at lower left. Hand-signed beneath image at lower right and numbered beneath image at lower left. Mounted behind glass in custom matte and frame; a few minor scuffs to frame that do not affect lithograph. Has not been examined outside of glass, but appears to be in excellent overall condition with suspension wire on verso for display. Informative label about artist and piece also on verso.
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