This triptych is in perfect condition. The stretchers are good, and the canvases are well stretched. Although this work is not very old, paintings such as these are often compromised; however, there is no damage or retouching in this case. The work should be hung in its current condition. (This condition report has been provided courtesy of Simon Parkes Art Conservation, Inc.) Please note the cataloging of this work has been updated to the following: MA FRUTA ATA FREKO (MURAL IN THREE PARTS) oil on canvas each: 59 by 118 in.; 150 by 300 cm Painted in 2006-2012.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

LUIS-MARTIN LOZANO

Ana Mercedes Hoyos was an outstanding painter, remarkable sculptor and notable draftsman at the forefront of Latin America's artistic production. Trained in an academic tradition that afforded her a flawless technique, equal only to her restless cognitive ability, she possessed an inquisitive spirit, defiant of rules and social conventions. Her best paintings achieve their extraordinary beauty through the use of sensual and exotic colors. After experimenting with metaphysical abstraction and Pop Art in the seventies, she devoted her last years to recover the image of palenques in San Basilio; works that reveal her deep social conviction to the cultural contributions of the black race in her n🌼ative Colombia.

Hoyos was tireless in her historical and anthropological research and produced some of the most emblematic works that I have ever seen by the hand of a Colombian artist. At the zenith of her fame she was commissioned by Ing. Lorenzo H. Zambrano to create Mural in three parts, a large scale composition that would serve as a pendant to Diego Rivera's Rio Juchitán. Ana Mercedes confided in me tha🔜t it was a privilege to have been invited to execute the present🅠 triptych, a work meant to exist vis-à-vis a mural by the great Diego Rivera.

Ever the perfectionist, she carefully designed the composition taking extreme care of its proportions and pictorial paletts🉐. Throughout the process, she remained true to her own crea♓tive language, a vocabulary she never compromised neither for the art market, nor her patrons.

I had the privilege to see Ana Mercedes Hoyos paint Mural in Three Parts in various stages of development wherein I witnessed the rigor and enthusiasm she presented to every challenge brought forth by the sheer size of the composition. For this, and many other reasons, Mural in Three Parts is one of the greatest picꦺtorial legacies she left behind; certainly a highlight in her career.