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  • ICAA Record ID
    755465
    TITLE
    Notas artísticas : La obra admirable de Diego Rivera / POR ORTEGA
    IN
    El Universal Ilustrado : Semanario artístico popular (México, D. F., México). -- No. 305 (Mar. 15, 1923)
    DESCRIPTION
    p. 31-32
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Journal article – Essays
    BIBLIOGRAPHIC CITATION
    Ortega, Febronio. "Notas artísticas: La obra admirable de Diego Rivera." El Universal Ilustrado: Semanario artístico popular (Mexico City) 6, no.305 (March 1923): 31-32.
    TOPIC DESCRIPTORS
Synopsis

In the article entitled “La obra admirable de Diego Rivera” [The praiseworthy work of Diego Rivera], Ortega faithfully follows the steps of his master and in great detail explains each of the figures included in his recently unveiled “decoration,” La Creación [Creation]. Three-quarters of the article is devoted to reviewing it, figure-by-figure, and gesture by gesture, and discussing those figures and gestures he believes were executed the most successfully. Ortega speaks of a crisis in Mexican painting which, in his opinion, is going through a phase of deep discontent, particularly in painting and literature more than any other art form or mode of expression. For him, the “imbalance” is visible. In an interview with El Universal Ilustrado, no painter agreed with the others. One style confronts the other and both are offended, both disagree, fight, and insult each other.

Annotations

By 1923, Ortega had a clearer understanding of the art scene and distinguished between the different artistic circles that existed at the time, as well as the terrible antagonism between some of them. The method/modus operandi of Adolfo Best Maugard (1891–1964) was seen by his enemies as effecting spineless, soulless stylizations that communicated nothing. It was in the circle of Diego Rivera (1886–1957), José Clemente Orozco (1883–1949), and Alfredo Ramos Martínez where Ortega found art “with meaning.” And certainty, he continued to erroneously classify Orozco and Ramos Martínez as being part of the same group, even when the Escuelas al Aire Libre [Open-Air Schools] were the workshops from which an illustrious group of painters would emerge.

Researcher
Esther Acevedo : Dirección de Estudios Históricos, INAH / CURARE A. C.
Team
CURARE, Espacio crítico para las artes, Mexico City, Mexico
Credit
Courtesy of El Universal de México, Mexico City, Mexico
Location
Instituto de Investigaciones Bibliográficas : Biblioteca Nacional/Hemeroteca Nacional