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  • ICAA Record ID
    759046
    TITLE
    Nuestra pintura no es ni mejor ni peor : distinta / Jorge González Camarena
    IN
    Mañana (México, D. F., México). -- No. 645 (Ene. 7, 1956)
    DESCRIPTION
    p. 26
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Journal article – Essays
    BIBLIOGRAPHIC CITATION
    González Camarena, Jorge. "Nuestra pintura no es ni mejor ni peor: Distinta." Mañana (Mexico City), no. 645 (January 1956): 26.
    TOPIC DESCRIPTORS
    NAME DESCRIPTORS
    GEOGRAPHIC DESCRIPTORS
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Synopsis

Jorge González Camarena did not believe that Mexican painting was in decline as Rufino Tamayo had stated, rather it was in a searching period. Nevertheless, it should not lose sight of its local and national character, which should be examined and re-affirmed in order to create a different type of painting. Despite Tamayo’s criticism regarding the stalling of Mexican painting, González Camarena believed that the Oaxacan artist’s œuvre was marked by a pure Mexican sentiment, to which he had been incorporating the international subjectivism based in Paris. Tamayo had not forgotten the Mexicanness: that which was specific to our culture and that distinguished him from other painters.

Annotations

Jorge González Camarena (1908-80) belonged to the second generation of muralists. He studied at the Escuela Nacional de Bellas Artes. He associated himself with the leftist ideas of the time and in 1928 he participated in a movement to support Diego Rivera (1886-1957) as the director of the Escuela Nacional de Bellas Artes. During the dispute that was occurring during the 1950s, González Camarena believed that Mexican painting was on a good path, “Mexico is running its course.” Painters should allow themselves to be seduced by the painting of other nations, as long as they do not forget their own. Modernity and tradition should both be part of the painters’ theoretical reflections. They should not devote themselves to a single style or artistic trend; they should create their own based on subjective reflection and, at the same time, on an objective criticism of reality.

Researcher
Ana María Torres
Team
CURARE, Espacio crítico para las artes, Mexico City, Mexico
Credit
Courtesy of Marcel González Camarena, Mexico City, Mexico
Location
Instituto de Investigaciones Bibliográficas : Biblioteca Nacional/Hemeroteca Nacional. México D.F., México