In this letter, the painter [and writer] Roubaix de l’Abrie Richey, known by the pseudonym, “Robo,” the husband of the Italian artist and photographer, Tina Modotti, writes to Edward Weston from Mexico City. The writer is visiting Mexico in December 1921 when he wrote to share with Weston his opinion on aspects of the country and his perception of Mexico as an artists’ paradise. In broad brush strokes, he describes some aspects of the trades performed by Mexicans—including the rural population, aristocrats, and Mexico’s bronze-colored women. The description is very clear, bringing into focus the many acute perceptions of a foreigner visiting this country of huge contrasts. According to “Robo,” we see all this amidst the great abundance and the extreme poverty of the Mexican people. On the other hand, he reports his surprise to the U.S. photographer that art education is free and talks about the outstanding work done with children. The results of this work are the extraordinary paintings created in night classes at the Escuelas al Aire Libre [Open-Air Schools of Painting]. When he visited one of these schools, it was the painter himself, Alfredo Ramos Martínez—who was also the project director—who showed him around. “Robo” also lets Edward Weston know about the importance of recovering Mexico’s national art and setting aside foreign art standards. In his long letter, he even lists different types of currency exchange, and how cheap it is to live in this country. “Robo” talks about his visits to the most important sites in the Mexican capital and its surroundings, such as the Villa de Guadalupe, Chapultepec and Tacubaya. He describes Xochimilco and how strange he finds the chinampas [floating gardens], as well as the presence of the volcanoes Ixtlaccíhuatl and Popocatépetl looming over the city. “Robo” also tells Weston that [Ricardo] Gómez Robelo is considering a solo exhibition for Weston in Mexico, and he will be arranging it soon. By the way, he would like the photographer to let him know the prices he charges for his photographs—without ruling out the possibility that Weston will move to Mexico to work there. The writer also lets Weston know about his own plans to develop his drawing skills while he is in Mexico.

Though the letter is extremely long, it is fairly descriptive of the Mexican scene upon the recent conclusion of the Mexican Revolution. There were many signs of a nationalist art germinating; much effort was being marshaled; great talent was under development, all identified by “Robo,”who describes it in a colloquial, enjoyable way. In essence, he is trying to win over the soul of Edward Weston (1886-1958), to convince him to come to Mexico. Given that perspective, he offers Weston an attractive image of Mexico and all its advantages, adventures and opportunities for developing an art that is different from conventional art. Since Weston and “Robo” shared a studio in Los Angeles, the writer knows the photographer’s art and aesthetic interests well. The Mexican Ricardo Gómez Robelo (1884-1924) had also visited Weston’s intellectual and art circle in Los Angeles. That contact was able to provide both “Robo” and Weston with a first-hand report on the economic, political and cultural conditions of life in Mexico in 1921. The letter is worth reading to understand the viewpoint where this U.S./Canadian painter—linked to Tina Modotti (1996-1942)—stopped and took a look at Mexico, not long before his death (occurred on February 9, 1922). This letter may well have been the start of the Mexican adventure that took shape in photographic dimensions with the subsequent arrival of Weston.