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  • ICAA Record ID
    770214
    TITLE
    El nuevo movimiento en la pintura mexicana / Por Jesús Guerrero Galvan
    IN
    El Popular : Diario al servicio de la Nación (México, D. F., México). -- Ago. 3, 1952
    DESCRIPTION
    p. 1 ; 3
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Newspaper article – Conferences
    BIBLIOGRAPHIC CITATION
    Guerrero Galván, Jesús. "El nuevo movimiento en la pintura mexicana." El Popular: Diario al servicio de la Nación (Mexico City), August 3, 1952.
Synopsis

In this speech delivered at the Universidad Obrera [Workers’ College] and transcribed in this article, the artist Jesús Guerrero Galván discusses the perspective and mission of the artist: “ . . . when confronted with social problems . . . it is necessary to be an accurate receptor of reality . . . it is the communion between artist and public.” The author characterizes realism as “one of the central traits of our modern Mexican painting movement” and deems the abstract trend “useless.” In his opinion, “this plague is a new kind of invasion, pushing aside and denying our painting . . . This evil is capable of destroying that combative spirit, that tradition of integrity that has characterized all the painters and which has earned universal prestige for our art . . . .” In some way, the author concludes that the society of artists will continue down the path of “the Mexican Revolution” and that the post-revolutionary regimes had “worked very hard in the interest of the nation’s culture and material needs.”

Annotations

In a continuation of the manifesto of David Alfaro Siqueiros (1896–1974), “No hay más ruta que la nuestra” [There is no path other than ours] (1945), the Jaliscan painter Jesús Guerrero Galván (1910–1973) alludes to the social function of realist art, which is contextualized within the manifesto of the so-called “Cortina del nopal [Prickly Pear Curtain] that José Luis Cuevas advocated in the fight against muralism and the emergence of the Ruptura group. Guerrero Galván’s generation felt a need to emphatically defend realism against the acceptance of the abstract trend in both the art critics’ circles and the market. His adherence to the Partido Popular [People’s Party] is evidence of this defense, so that Guerrero Galván and artists such as Leopoldo Méndez, Xavier Guerrero, Federico Canessi, and others supported the presidential 1952 candidacy of the Communist candidate Vicente Lombardo Toledano, and even opened an art school at the Universidad Obrera. It is worth mentioning that Lombardo Toledo, as part of his cultural platform, invoked the struggle for peace and democracy in the fight against imperialism. Nevertheless, these kinds of discourses did not succeed in averting the rise of abstract painting, which entered the Mexican art scene with renewed energy.

Researcher
Dafne Cruz Porchini : CURARE A. C.
Team
CURARE, Espacio crítico para las artes, Mexico City, Mexico
Credit
Courtesy of Antonia Guerrero, New York, N.Y.
Location
Instituto de Investigaciones Bibliográficas : Biblioteca Nacional/Hemeroteca Nacional