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The short article written by the Guatemalan writer extols the artwork of Emilio Amero, who had lived in the United States in the 1920s, enjoying a certain success in the U.S. market. The writer praises the characteristics of the artist’s work—mostly drawings, murals and photographs—although his production is removed from any political context and more in keeping with the avant-gardes in European art.


Emilio Amero (1901-76) was an artist whose œuvre took him into different spheres. His career spanned his production as an assistant on the mural works of the SEP ([Spanish initials for] Ministry of Public Education) as well as his experience as a magazine and book illustrator in New York. Amero studied at the Academia de San Carlos and participated in the Escuelas de Pintura al Aire Libre [Open-Air Schools of Painting]. In addition, it seems that he directed the Galería El Hipocampo, which exhibited the work of the estridentista movement. His artwork, which did not fall exactly within the canons of the pictorial and photographic avant-garde, caught the attention of the Guatemalan art critic based in Mexico, Luis Cardoza y Aragón (1901-92). The critic gave his highest praise to certain abstract compositions of nature scenes, works without any hint of rhetorical content. It was in the year 1937 that Cardoza entered into various disputes, publicly confronting members of LEAR [League of Revolutionary Writers and Artists]. However, in the midst of these disputes, Cardoza maintained his firm stance, defending both the formal properties of pictorial artwork and accuracy in the execution of Mexican painting.

Dafne Cruz Porchini : CURARE A. C.
CURARE, Espacio crítico para las artes, Mexico City, Mexico
Courtesy of Fondo Patrimonial En Beneficio De El Colegio de México, A.C., Mexico City, Mexico
Instituto de Investigaciones Bibliográficas : Biblioteca Nacional/Hemeroteca Nacional