El Grupo de Pintores ¡30-30!. "5° Manifiesto treintatrentista: Contra los académicos; los covachuelistas; los salteadores de puestos públicos; En general contra toda clase de sabandijas y zánganos intelectualoides," 1928. Fondo reservado de la Biblioteca Justino Fernández del Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, Mexico City.
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In this manifesto, the ¡30-30! collective of painters announced that its struggle against academism was once again alive and thriving. The reason for this was that the president’s office of the Escuela de Bellas Artes [School of Fine Arts] officially named the literary figure Manuel Toussaint the director of the school, defying the purposes that the education minister announced in his speech when the new president took charge. For the Treinta-treintistas group, this appointment had more to do with Toussaint’s friendship with Toussaint than the ability required to run a school, which had nothing to do with the writer’s particular vocation. For this reason, the Academia and the Escuelas al Aire Libre [Open-Air Schools] were destined to fail, they said. The group also denounced the destruction of the mural by Fernando Leal, on orders from a mere department head, Bernardo J. Gastelum, whom authorities awarded by sending to Europe instead of demanding an explanation. The collective’s assessment of the situation was that behind the conservative Toussaint, the “gachupín” [Spaniard] Maroto and the “effeminates” would be ushered in to occupy government ministries. Together they expressed their overt opposition to homosexuality, which they believed to be an imitation of the French bourgeoisie, and they urged the federal government not to keep individuals of a questionable physiological condition in ministerial posts.
The Fifth Manifesto was the last one issued by the ¡30-30! collective, marking the definitive end of its entire political battle. It appeared shortly after historian Manuel Toussaint (1890–1955) assumed his post as director of the Escuela Nacional de Bellas Artes [National School of Fine Arts], having been appointed by University President Antonio Castro Leal (1896–1981). Both an image that appeared on the manifesto and the content referring to the “effeminates” were allusions to Los Contemporáneos collective, which included Salvador Novo, Jaime Torres Bodet, Xavier Villaurrutia, and others, and the same is true of the reference to Gabriel García Maroto (1889–1969), the Spanish poet, art critic, and visual artist who designed and became a frequent contributor to their magazine Contemporáneos.