Documents of Latin American and Latino Art

In this text, researcher Carmen Hernández examines the visual discourse on gender issues of women artists from Latin America. She concludes that there is no artistic movement in the region that specifically reflects on gender of the sort that [...]

The anonymous author of this article contrasts the favorable response on the part of Peruvian intellectuals and artists to the work of Spanish artist Victorio Macho and their response to María Izquierdo, considered “ambassador of a hypothetical [...]

In this text, critic Raúl Pereira asserts that the works by María Izquierdo on exhibit in Lima display “distinct personality, unquestionable artistic quality, and visual daring” as they delve into the motifs of Mexican folk art. The treatment [...]

This is a review of the exhibition of work by María Izquierdo at the ICPN (Instituto Cultural Peruano Norteamericano) in Lima. “Tiziano” [Titian] describes her exhibition as “an interesting spiritual message from the Aztec nation and a [...]

María Izquierdo is interviewed during her visit to Lima. The author of this article, known only by the pseudonym, “Tiziano” [Titian], considers the painter to be part of “the group of artists who are creating Mexican art based on an [...]

The article is a review of the Exposición de arte mexicano [Exhibition of Mexican Art] that was held at the Hospital Juárez. It included paintings, sculpture, and engravings by Mexican artists such as Diego Rivera, Roberto Montenegro, Carlos Orozco [...]

In the prologue to the catalogue of the 1935 exhibition of contemporary Mexican art, Mexican artist Jorge Juan Crespo de la Serna provides a brief overview of Mexican art from the time of the Mayans until the present. He asserts that Mexican art, [...]

This short article reviews the opening of an exhibition of 17 watercolors by María Izquierdo in the premises of Mexican Folkways, a journal published by the collector and promoter of popular art, Frances Toor. In addition to discussing the various [...]

In this essay, originally published in 1970, Jorge Alberto Manrique points out that in the 1950s the Mexican School of Painting began to stagnate in terms of both form and motifs. However, official support allowed it to maintain its control of the [...]

To the critic Antonio Rodríguez, the decadence of Mexican painting was based on an abandoning of ideological stances and a distancing from the social problems of humanity. The blame could mainly be laid at the door of the abstract painters who had [...]

This article discusses the preparations for the first exhibition of “women’s” posters—an unprecedented event. The women artists involved were María Izquierdo, Dolores Álvarez Bravo, Cordelia Urueta, and the Peruvian Julia Codesido. The [...]

Carlos Mérida reports that given the global importance that Mexican painting has taken on and the interest generated by its evolution, the Departamento del Distrito Federal [DDF, Mexico City-City Hall] founded an art gallery to exhibit works by [...]

No one interviewed María Izquierdo for this story. Instead, she went to the editorial office of Últimas Noticias on her own initiative and expressed her point of view about the “nascent pictorial dictatorship.” Following Fernando Leal’s lead [...]

In this essay, North American critic and art collector MacKinley Helm analyzes the work of those artists whose style and content did not fit into muralism or the so-called “Mexican School of Painting.” Helm discusses, in the context of the 1920s [...]

What is relevant in this article is that it presents a synopsis of five exhibitions that were held in the Galería de Arte Moderno—which depends on the Dirección de Acción Cívica del Departamento del Distrito Federal [an entity of civic action [...]