Bust of a Womanc. 198614 × 9 × 4"Paint, reflective plastic, and human-hair wig on papier mâchéGift of Dorothea and Leo Rabkin1998.2.20Bust of a woman with short hair, light eyes and red lips. Purple foil for the blouse1538402408Gregorio MarzanSculptureCopyright for this work is under review.United StatesNew YorkThree Dimensional WorksThe four distinctive busts by Gregorio Marzan in the musem’s collection—two men and two women—were probably influenced by the mask-making traditions of Puerto Rico, especially the caretas de carton associated with festival parades and processions. The ethnic flavor of the busts speaks to the richness of population diversity in America, more specifically in New York City, where Marzan settled in 1937 after emigrating from Vega Baja, west of San Juan, in north central Puerto Rico.
The economic pressures of the Great Depression brought Marzan to New York prior to the mass migration of Puerto Ricans to the city following World War II. At the time of his arrival, only small expatriate communities had been formed in East Harlem and in Brooklyn. Marzan found employment through the Works Progress Administration, first as a sewer worker and shortly thereafter in a toy factory. Upon his retirement in 1971 after thirty years manufacturing dolls and toys, Marzan began to create a whimsical body of sculpture, including striking portrait busts, fanciful figures of birds and animals, wry interpretations of the Statue of Liberty, and models of the Empire State Building. Although the works were originally created in obscurity, they were eventually brought to the attention of a wider audience by El Museo del Barrio, a community-based arts organization located within a short walk from Marzan’s East Harlem home.
SCULPTUREBust of a woman with short hair, light eyes and red lips. Purple foil for the blouseThese sparkly ladies by Gregorio Marzan were probably influenced by the mask-making traditions of Puerto Rico, especially those associated with festival parades and processions. The artist was born in Vega Baja, west of San Juan, in the north-central region of the country, and immigrated to New York City in 1937. At the time of his arrival, following the pressures of the Great Depression, only small expatriate communities had been formed in East Harlem and in Brooklyn. Marzan found employment through the Works Progress Administration, first as a sewer worker and then in a toy factory. He often brought dolls and toys home for his children and grandchildren, and started "tinkering" with found objects to create his own toys. After retiring in 1971, Marzan turned to this activity full-time and created a whimsical body of sculpture using cellophane and metallic tapes, cardboard, papier-mâché, popsicle sticks, gift wrap paper, wire hangers, wigs, and aluminum foil. Marzan transformed these everyday materials into a glamorous and glittery world of striking portrait busts, fanciful birds and animals, ethnic interpretations of the Statue of Liberty, and models of the Empire State Building. These female busts are "dressed" in multi-lens reflective film typically used for products such as party bags and boxes.Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information. To help improve this record, please email photoservices@folkartmuseum.orgObject information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information. To help improve this record, please email photoservices@folkartmuseum.org19811991 1998 2 2 SCULPTUREBust of a woman with short hair, light eyes and red lips. Purple foil for the blouseThese sparkly ladies by Gregorio Marzan were probably influenced by the mask-making traditions of Puerto Rico, especially those associated with festival parades and processions. The artist was born in Vega Baja, west of San Juan, in the north-central region of the country, and immigrated to New York City in 1937. At the time of his arrival, following the pressures of the Great Depression, only small expatriate communities had been formed in East Harlem and in Brooklyn. Marzan found employment through the Works Progress Administration, first as a sewer worker and then in a toy factory. He often brought dolls and toys home for his children and grandchildren, and started "tinkering" with found objects to create his own toys. After retiring in 1971, Marzan turned to this activity full-time and created a whimsical body of sculpture using cellophane and metallic tapes, cardboard, papier-mâché, popsicle sticks, gift wrap paper, wire hangers, wigs, and aluminum foil. Marzan transformed these everyday materials into a glamorous and glittery world of striking portrait busts, fanciful birds and animals, ethnic interpretations of the Statue of Liberty, and models of the Empire State Building. These female busts are "dressed" in multi-lens reflective film typically used for products such as party bags and boxes.Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information. To help improve this record, please email photoservices@folkartmuseum.orgObject information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information. To help improve this record, please email photoservices@folkartmuseum.org