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 María Izquierdo addresses two topics in this short article. She analyzes the characteristics of the five most important galleries in Mexico City: the one at the University, Galería Espiral, Galería de Arte y Decoración, Galería de Arte María Asúnsolo and [Inés Amor’s] Galería de Arte Mexicano [also known as GAM]. She is most positive about latter, the María Asúnsolo and Mexican Art galleries, while she finds certain defects in each of the former three. The painter also reviews the Salón de Pintura recently added to the Galería Arte y Decoración, in which the majority of the works by the 41 artists exhibited can be considered academic art.


The article by the painter María Izquierdo (1902-1955) reveals the dearth of galleries operating in Mexico City at the time. From the artist’s description, it would seem that each of the galleries was following certain aesthetic guidelines. The galleries that were most open to young artists were one owned by María Asúnsolo and another owned by Inés Amor, and Izquierdo did, in fact, exhibit her work at both galleries. The article would seem to be providing background for the painter’s proposal, which calls for the foundation of an institution [open to young artists] through the Ministry of Public Education (SEP). Regarding Salón 1941, held in a gallery that followed academic realism, most of the artists exhibited there did not even “show outstanding mastery.” The exceptions were the Mexicans, Raúl Anguiano (1915-2006) and José Chávez Morado (1909-2002), and an artist from La Mancha, Miguel Prieto (1907-56), plus a few others.

Diana Briuolo : CURARE A. C.
CURARE, Espacio crítico para las artes, Mexico City, Mexico
© Amparo Posadas Izquierdo, Leon, Gto
Instituto de Investigaciones Bibliográficas : Biblioteca Nacional/Hemeroteca Nacional