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    Anzures, Rafael
    La destrucción de las pinturas de Camarena : Savonarola entre los banqueros: Petición al Licenciado Álvarez Acosta / Por Rafael Anzures
    México en la Cultura : suplemento cultural de Novedades (México, D. F., México). -- Sep. 29, 1957
    p. 6
    Newspaper article – Essays
    Anzures, Rafael. "La destrucción de las pinturas de Camarena: Savonarola entre los banqueros; Petición al Licenciado Álvarez Acosta." México en la cultura: Suplemento cultural de Novedades (Mexico City), September 29, 1957.

This article denounces the demolition of the murals Jorge González Camarena painted in 1941 at the Guardiola building in Mexico City. According to the author, the two panels that composed La vida [Life] were destroyed on July 29of 1957: one day before a major earthquake hit the Federal District. A plot was hatched with the malicious intention of attributing the destruction of the work to that event. Although the director of Instituto Nacional de Bellas Artes (INBA), Miguel Alvarez Acosta, offered the painter compensation, and the opportunity to re-paint the work at his institution where it could be safeguarded, Anzures makes a different request: that the matter should be taken to an international level at the AICA, Asociación Internacional de Críticos de Arte [International Association of Art Critics].


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Jorge González Camarena’s (1908-80) mural was the object of more than one complaint since it had been painted 16 years earlier. Complaints were made against its “moral” character because each of the two oil paintings (waxed) measuring 88 square feet showed the two frontal nudes of El hombre y La mujer [The Man and the Woman]; these were the representative sections of La Vida. The work was located in the hall at the building’s entrance. The building was designed by architect Carlos Obregón Santacilia (1896-1961) and was located in the Historic Center of the city. It was considered one of Mexico’s art deco jewels. Although Camarena’s murals cannot be considered part of the nationalist art, the author’s affiliation with the Escuela Mexicana de Pintura [Mexican School of Painting] was well known; INBA’s ambiguous support during the incident reveals that the movement to which the artist belonged had lost influence.

Diana Briuolo : CURARE A. C.
CURARE, Espacio crítico para las artes, Mexico City, Mexico
Instituto de Investigaciones Bibliográficas : Biblioteca Nacional/Hemeroteca Nacional. México D.F., México