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Tablada discusses the work of Miguel Covarrubias, the young cartoonist who was almost totally unknown in Mexico at the time but was making a name for himself as a magazine illustrator in the United States. Like Tablada, Covarrubias lived in New York, and he produced a collection of drawings depicting the blacks of Harlem. These drawings, according to Tablada, contain no trace of mockery or racial ignorance; on the contrary, they express a respectful view of the character and culture of the black race.
As the poet José Juan Tablada (1871-1945) rightly points out, young Miguel Covarrubias (1904-1957) was almost totally unknown in Mexico, but was enjoying a budding career as an illustrator in the United States. Tablada promoted Covarrubias through a number of articles that sought to establish the latter in both countries. The "Negro Drawings" series to which the critic refers first appeared in Vanity Fair magazine in 1924, and provided Covarrubias with his first exposure to other cultures, thus awakening his interest in the fields of ethnology and anthropology. His drawings were something quite new at the time, even for the North American public that was unfamiliar with the reality and the culture of the African-American community. Covarrubias got his career off to a good start in the United States, becoming an important spokesperson for intercultural relations between the two countries as a result of his cosmopolitan approach that allowed him to express certain essential cultural aspects of Mexico and other societies. He played a very significant role in the organization of the exhibition Veinte Siglos de Arte en México [Twenty Centuries of Art in Mexico] (1940) at MoMA in New York.