Documents of Latin American and Latino Art

In a series of philosophical commentaries, Jean Charlot emphasizes what is important and novel in Lola Cueto’s perforated paper works. He points out that one must remove parts of a stone in order create something. He talks about the idea of taking [...]

This is the third of four articles on the nature of the current painting movement in Mexico. It classifies those painters and writers as retrogressive, who continue to paint under outdated and foreign influences without contributing to the local [...]

This is the second of four articles on the nature of the current Mexican painting movement. The article concerns the celebrated individuality that incites our painters, given the supposition that originality is a painter’s greatest asset. The [...]

This is the first of a four-part article on the technical nature of the Mexican painting movement. Violent aesthetic transformations had occurred in the last few years while art criticism against painters oscillated between grand praise and fury. [...]

After reviewing the rich array of techniques used by the printmaker José Guadalupe Posada, Jean Charlot attributes to this producer of “anonymous work” the nature of creator and turns him into a representative of national Indo-American art. [...]

Artist Jean Charlot suggests that murals in “pulquerías” [agave sap saloons] and butcher shops are genuine works of art because of their superior aesthetic level. He remarks that, aesthetically speaking, Mexico is like Pompeii, Italy, in terms [...]

Jean Charlot thanks, ironically, the fact that José Clemente Orozco has not studied in Europe, since the United States offered him the mechanical elements of his œuvre, and Mexico the dramatic elements. Orozco, in Charlot’s opinion, lives within [...]