Alberto Cavazos Watercolor Woman with Dove 1988-1990 Signed Original Art

Description

A woman looks forward while a dove rises behind her, creating a silent, mysterious, and deeply evocative scene.

"Untitled (Woman with Dove)" is an original drawing by Alberto Cavazos, executed on paper through a combination of watercolor and colored pencil. The composition presents, in the foreground and toward the left side, the face and figure of a woman viewed from the front. Behind her, at a higher level, appears a dove that seems to be perched on a horizontal surface.

The scene is constructed through a characteristic combination of linear drawing and fields of color. Cavazos uses pencil to define the contours of the woman, her features, and the bird's forms, while watercolor establishes large chromatic areas ranging from blues and greens to browns, ochres, and violets. The result deliberately preserves the spontaneity of the drawing, with visible, gestural lines coexisting with more atmospheric areas of color.

One of the most interesting aspects of the composition is precisely the spatial relationship between its two protagonists. The woman occupies the foreground plane, while the dove appears behind her and at a considerably greater height. The bird seems to be resting on a surface that visually functions as a horizon. This surface gradually changes from a predominant green in the central area to brownish tones on the right side, creating a chromatic division that helps organize the entire pictorial space.

The female face is resolved with a notable economy of line. The eyes, nose, and mouth are merely suggested through delicate strokes, giving the figure a serene and contemplative expression. The treatment recalls the way Cavazos could reduce a human figure to its essential elements without losing its personality. Around her, abstract forms and watercolor washes generate an ambiguous space that lies somewhere between representation and imagination.

The dove introduces a second level of reading. Traditionally associated with concepts such as peace, freedom, spirituality, and communication, its presence behind the woman can be interpreted in various ways. It could represent an inner idea, a protective presence, or simply establish a visual dialogue between the human being and the natural world.
This ambiguity is especially fitting within the artistic universe of Alberto Cavazos, one of the most important artists to emerge from the visual arts scene of Monterrey and Nuevo León during the second half of the 20th century. His career encompasses painting, drawing, watercolor, printmaking, and sculpture, and his work has been exhibited both in Mexico and internationally. Drawing played a particularly important role in his production and was the subject of exhibitions specifically dedicated to this facet of his work.

The piece is especially interesting for the two signatures and dates visible on the lower right. One of the inscriptions appears accompanied by the date 1988, while a second signature, executed with a different colored pencil, bears the date 1990. At 32 Reales, our experience indicates that this is a particularity of this copy. It is possible that the artist later signed the piece again, perhaps when reviewing it, recovering it, or presenting it anew.

The two dates allow the work to be situated within a particularly interesting period of the artist's career, between the end of the 1980s and the beginning of the 1990s. Rather than attempting to artificially establish a single execution date, it is more accurate to retain both inscriptions in the cataloging and describe it as a work dated 1988-1990.
Technique and materials

This is an original work on paper, executed in watercolor and colored pencil and subsequently presented framed with a mat and wooden frame.

The technique allows one to appreciate two simultaneous languages. On the one hand, the pencil lines provide structure, definition, and movement. On the other hand, the watercolor washes generate a freer chromatic atmosphere. Cavazos does not seem interested in concealing the image's construction process; on the contrary, he leaves visible the strokes, corrections, and variations in intensity that bring the surface to life.

This combination contributes to the work retaining a sense of intimacy and spontaneity, qualities particularly important within the artist's production on paper. Conservation status
Condition

The work is in acceptable condition.

Moisture stains are visible on the lower right of the mat. The damage appears to be mainly localized on the mat and not directly on the visible surface of the drawing. However, the work remains within its frame and has not been unmounted for a complete inspection of the paper, so we cannot guarantee that the reverse or the hidden areas are completely free from effects. At the same time, the visible image adequately preserves its main elements, including the drawing, color, and the artist's two signatures.