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Leading with the opinions of Ricardo Gómez Robelo, Pedro Henríquez Ureña, and Julio Torri, the editorial section of the newspaper has become sensitive to the new mural art and has allowed those versed in the new art to have their say. The article states that it fails to understand why Diego Rivera likes to be called a “painter of agave sap saloons” when the truth is he studied at the Academies of Mexico and with the best painters in Spain and France. Rivera is not just trying to “épater [le bourgeois]” [shock the middle-class] but rather to “crever les yeux” [blind] the bourgeois man. If we were to allow this idea, we would cause regression not just to early Italian artworks, albeit back to the early artwork of the very Aztecs. The article provides an extended quote about easel painting, though it assures the reader that it is not in favor of dogmatism.


Once the ongoing dispute passed its peak, the newspaper began to listen to the voices of critics such as Pedro Henriquez Ureña (1884–1946), Ricardo Gómez Robelo (1884–1924) who would later write for El Demócrata, and Julio Torri (1889–1970). No sooner did a discussion ensue on which was best, mural painting or easel painting, than the issue became politicized. The forum that opened up among the artists led to the formation of the Sindicato de Obreros Técnicos, Pintores y Escultores (SOTPE) [Union of Technical Workers, Painters and Sculptors], which clarified that easel painting was for bourgeois tastes, and only mural painting had implications that were both didactic and revolutionary.

Esther Acevedo : Dirección de Estudios Históricos, INAH / CURARE A. C.
CURARE, Espacio crítico para las artes, Mexico City, Mexico

Biblioteca Miguel Lerdo de Tejada de la Secretaría de Hacienda y Crédito Público