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Lithograph in colors on paper. Hand signed and dated lower left margin by R.C. Gorman. Hand numbered 72/150 lower right margin. Image size: 24 x 36 inches. Sheet size: 28.5 x 40 inches. Frame size: 35 x 45 inches.
Artwork appears to be in excellent overall condition. Signs of expected aging in the margins. Artwork has not been examined outside the frame. Certificate of Authenticity is included.
About the Artist: Rudolph Carl Gorman (1932-2005) was born, of the Tl’íshchí’í clan, on the Navajo Reservation in 1932. His father, C.N. Gorman, was a highly regarded artist and teacher. Growing up in a traditional Navajo hogan and herding sheep, Gorman began drawing at the age of three. A student at Arizona State College (now Northern Arizona University), he studied literature and art, but left school to enlist in the Navy in 1951. Stationed on the Mariana Islands, Gorman attend English and journalism classes at Guam Territorial College, but never abandoned his passion for drawing. After his discharge, he used his talent as an illustrator for an article in School of Arts Magazine at Arizona State College. Later, he went on to enroll in art classes at Mexico City College and San Francisco State College. His dream of receiving a teaching degree was never realized; however, his perseverance as an artist was rewarded. In 1978, the College of Ganado awarded Gorman an honorary Doctorate of Fine Arts. Like his father, R.C Gorman became a highly accomplished and regarded national Native artist of the Southwest. After opening a gallery in Tubac, Arizona, Gorman conducted numerous workshops and started to experiment with lithography, studying under Jose Sanchez in Mexico City.
R.C. Gorman captured national attention due to his archetypal portrayals of Navajo women in paintings, prints, ceramics and sculptures. He produced works using different media including acrylics, oils and oil pastels, silk screen, etching and lithographs. In many of his works, Gorman had his subjects engaging in simple activities, which became his focal point. Ultimately, the physical presence and spiritual life of the subject captivated his motivation as opposed to the contextual background. His images often depicted the face, hand and feet with intricate detail; in truth, watercolor wash full-bodied Indian women became his trademark.
