Documents of 20th-century Latin American and Latino Art

www.mfah.org Home

IcaadocsArchive

Document first page thumbnail
  • ICAA Record ID
    778238
    TITLE
    Máscaras : Alberto Fuster / J. J. T.
    IMPRINT
    México, D. F. : [s.n.], 2ª quincena de junio de 1903
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Journal article – Essays
    BIBLIOGRAPHIC CITATION
    Tablada, José Juan. "Máscaras: Alberto Fuster." Revista moderna: Arte y ciencia (Mexico City) 6, no.12 (June 1903): 177-178.
    NAME DESCRIPTORS
Synopsis

A “Máscara” [Mask] that reviews the celebrated painter from Tlacotalpan, Alberto Fuster?who trained entirely in Europe thanks to a grant from the government of the state of Veracruz?in which José Juan Tablada pays tribute to the painter’s legend and to his literary and poetic imagination. Tablada also mentions that Fuster’s œuvre had been exhibited in salons in Paris, Rome, and Florence. Another thing in the young painter’s favor, which was greatly appreciated by Tablada and by local critics, was his ethic involvement with the work, which set him apart from others who accepted grants but then didn’t produced as expected. 

Annotations

Born in Tlacotalpan, Veracruz, Alberto Fuster (1872-1922) was a painter much admired by José Juan Tablada (1871-1945) during the time?on the eve of a change that would become apparent some three years later in the visual arts in Mexico?when there were high hopes that artists studying in Europe on grants would come home and make a contribution to offset the stagnant conditions in Mexico’s academic education. There was a palpable desire for a “national expression” at the time, and the training that artists received in Europe was seen as a major step in that direction. At the time, Fuster had a very promising career thanks to his moderate approach to the “-isms” that were in vogue at the time, which Fuster had assimilated on his travels in Florence and Germany, and especially during his visits to Rome, Assisi, Padua, and Florence. Strangely, however, that very moderation would count against him in the 1920s, as Tablada so presciently noted. Fuster, in fact, was unable to adapt to the Mexican or the North American avant-garde’s modern trends because he had remained stuck in a “spiritual” period dating back to before the Mexican Revolution and the Great War. The poet therefore compares him to Rip Van Winkle, the fictional Dutch character who was put under a spell and fell asleep for many years up in the mountains. When he awoke and returned to his native village, he found everything so changed that he felt like a stranger in his own home.

Researcher
Luis Rius Caso : CURARE A. C.
Team
CURARE, Espacio crítico para las artes, Mexico City, Mexico
Credit
Courtesy of Instituto de Investigaciones Filológicas, Universidad Autónoma de México, Mexico City, México
Location
Fondo Reservado del Instituto de Investigaciones Bibliográficas : Biblioteca Nacional/Hemeroteca Nacional