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En el reverso: “1512” [MRC].&#13;
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En el reverso: “584” [anónimo].&#13;
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En el reverso: “585” [anónimo].&#13;
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En el reverso: “945.” [MRC].&#13;
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En el reverso: “1211” [MRC].&#13;
Documentación&#13;
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Documentación&#13;
Inv. FPK: “1318 Molina 1925 Téc. Mixta&#13;
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                <text>Xul Solar, Alejandro, 1887-1963</text>
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            <description>An account of the resource</description>
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                <text>Sin título, [1925?]&#13;
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                <text>Inscripciones de terceros&#13;
En el reverso: “668.” [MRC].&#13;
Documentación&#13;
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Exposiciones&#13;
Xul Solar: visiones y revelaciones, Buenos Aires; San Pablo; Houston; México DF, 2005-2006, n. 50, reprod. p. 114.&#13;
Antes de América: fuentes originarias en la cultura moderna, Madrid, Fundación Juan March, 6 de octubre al 3 de marzo de 2024.&#13;
Notas&#13;
La obra no está ni firmada ni datada, y a pesar de presentar un alto grado de acabado,&#13;
sin embargo, puede afirmarse que Xul decidió no avanzar y la dejó en el estado&#13;
que la conocemos. Por otra parte, su ubicación en la superficie de la página, sin&#13;
alinearse en el centro, parece también indicar que el soporte iba a ser recortado.&#13;
La propuesta de datación que hacemos es por su asociación con otra pintura del&#13;
período catalogada en el registro anterior, Proa. Esto más que deberse a una cuestión&#13;
estilística o por el tema elegido (aunque las dos comparten también el mismo&#13;
tamaño de papel), en realidad tiene que ver con el empleo de un motivo precolombino&#13;
como objeto de la pintura. Y este punto y considerando el conjunto de la&#13;
producción de Xul en su totalidad, nos llevaría a dos momentos distintos. Uno de&#13;
ellos a su estancia en Alemania y especialmente al año 1923, cuando realizó aquello&#13;
que es conocido como su ciclo americano, con obras como Tlaloc o Nana-Watsin; y ya, en un segundo momento, a 1925 que es el momento de su asociación con la revista Proa (1924-1926), una publicación que eligió para algunos de sus números una ornamentación de página basada en motivos precolombinos tomados de diversas fuentes de la época.&#13;
Observaciones&#13;
Al ser vista al trasluz, se pueden observar las correcciones realizadas por Xul en la pintura, en principio destinadas a ocultar algunos detalles –como por ejemplo, el pelo de la cabeza que finalmente eliminó– con una capa cubriente de gouache. El resultado de estas correcciones es reconocible a simple vista, otro punto que el artista debe haber evaluado al momento de decidir no seguir trabajando en ella.</text>
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                <text>Fundación Pan Klub, Buenos Aires</text>
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            <name>Rights Holder</name>
            <description>A person or organization owning or managing rights over the resource.</description>
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                <text>Fundación Pan Klub - Museo Xul Solar</text>
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