ICAA Researcher: Ana María Torres : CEPE, U.N.A.M. / CURARE A. C.×
  • ¡Tamayo se rebela! : Rufino Tamayo, “Cuarto grande” de la pintura mexicana se subleva en un vibrante mensaje artístico
    Climent, Juan B.
    1951
    The art critic Juan Climent thought that Rufino Tamayo’s painting was caught in the crossfire of conflicting opinions. Some thought that his œuvre represented the decadent formalism of the School of Paris, but others saw it as the dawn of a new [...]
    ICAA Record ID: 759012

  • ¿Artistas provocadores y delatores? : Los efectos de la intromisión corruptora del departamento de Estado Yanqui en la vida artística de nuestro país
    1954
    The exhibition at Perls Gallery in Beverly Hills, Los Angeles, presented Rufino Tamayo as one of the four great Mexican artists. His works were part of the great modernism and, unlike those of his colleagues, no Communist symbols could be found in [...]
    ICAA Record ID: 785817

  • ¿Cómo respondieron los públicos de Europa?
    Gamboa, Fernando
    1952
    This interview consists of fourteen questions regarding the reception that the Mexican art exhibition experienced from the Parisian public. Fernando Gamboa believed that the event was a great opportunity for the Mexican people, and also was a great [...]
    ICAA Record ID: 779913

  • ¿Cuál es la pintura revolucionaria?
    Tamayo, Rufino
    1955
    In artistic circles in those days, according to Rufino Tamayo, anything that was not purely Mexican was roundly rejected, and works that reflected our own experience and personal expression were lavishly praised. This had its positive aspects, but it [...]
    ICAA Record ID: 759040

  • ¿México tendría hoy una escuela de pintura propia, de haber seguido la ruta de Tamayo?
    Rodríguez, Antonio, 1909-
    1948
    Antonio Rodríguez analyzed Rufino Tamayo’s work, basing his remarks on the retrospective of his paintings exhibited at the Palacio de Bellas Artes. According to the exhibition catalog, Tamayo’s greatest contribution was his handling of color. [...]
    ICAA Record ID: 758248

  • [Letter] [ca.1952]
    Gamboa, Fernando
    1952
    In this letter, Fernando Gamboa tells José (his last name is illegible) that the exhibition has been received positively. According to Gamboa there are those who have discovered an authentic pictorial path in Mexican painting, a possible escape from [...]
    ICAA Record ID: 779926

  • [Letter] 1951 [to] Fernando Gamboa
    Tamayo, Rufino
    1951
    The Instituto Nacional de Bellas Artes y Literatura (INBAL, 1947) invited Rufino Tamayo to participate in the Mexican Art Exhibition that would take place in Europe. The Oaxacan painter responded that he could not give them an answer until “he knew [...]
    ICAA Record ID: 779846

  • Acusa Chávez Morado : Tamayo se ha quitado el disfraz de esteta apolítico
    Suárez, Luis
    1954
    José Chávez Morado thought Mexican painting was in a crisis brought on by abstract art, which was becoming a fad though it was not brand-new to Mexico. It had once interested Diego Rivera when he was exploring geometrical ideas in search of formal [...]
    ICAA Record ID: 759033

  • Antonio Rodríguez Luna : como jurado y como pintor no podía estar con su arte deshumanizado y servil
    Rodríguez Luna, Antonio
    1958
    Antonio Rodríguez Luna was invited to sit on the jury of the I Bienal Interamericana de Pintura y Grabado [First Inter-American Biennial of Paintings and Prints] a few days after the exhibition opened. He was picked as the arbiter who would cast the [...]
    ICAA Record ID: 758430

  • Arte mexicano en Europa
    Castro, Rosa
    1951
    This text by art critic Rosa Castro reports on her conversation with curator Fernando Gamboa, who had just arrived from Europe in order to thoroughly implement an exhibition of Mexican art that would take place in Paris. Gamboa comments on the great [...]
    ICAA Record ID: 779981

  • Bellas Artes retiró el mural Comunista de Diego Rivera, ignórese donde fue a parar el discutido cuadro
    1952
    Carlos Chávez tells the press that he had received an order not to exhibit the painting Pesadilla de guerra y sueño de paz [Nightmare of War and Dream of Peace]. As such he had only two choices: remove the painting or close the museum; he opted for [...]
    ICAA Record ID: 780032

  • Bienal primer balance : Cero originalidad
    Palencia Alvarez Tubau, Ceferino
    1958
    Art critic Ceferino Palencia identified the advantages of contests such as the one held within the context of the Inter-American Biennial of Painting and Printmaking. In the first place, he said, such contests gave painters the possibility of [...]
    ICAA Record ID: 769937

  • Carrillo Gil depone su actitud bélica y elogia sin reservas el expresionismo abstracto de los Estados Unidos
    Carrillo Gil, Alvar
    1958
    According to Alvar Carrillo Gil, Abstract Expressionism in the United States was in direct competition with the School of Paris. Though it was promoted as an authentically American trend, the collector and art critic believed it had European roots. [...]
    ICAA Record ID: 758403

  • Carta de Fernando Gamboa a Rufino Tamayo
    Gamboa, Fernando
    1952
    Fernando Gamboa, deputy director of the Instituto Nacional de Bellas Artes (INBA), responds to Tamayo by stating that the Instituto has always used a criterion of equality and reminds the artist that his painting has had all possible official support [...]
    ICAA Record ID: 779858

  • Con la Bienal se logra hoy lo que no lograron 60 años de propaganda demagógica : Dice el Doctor Atl
    Tibol, Raquel
    1958
    Raquel Tibol interviewed Dr. Atl, who declared his total agreement with the organizers of the Bienal Interamericana de Pintura y Grabado [Inter-American Biennial of Painting and Printmaking], sponsored by the Instituto Nacional de Bellas Artes (INBA [...]
    ICAA Record ID: 758357

  • Con Siqueiros
    Siqueiros, David Alfaro
    1952
    In this interview, David Alfaro Siqueiros states that in the exhibition Arte mexicano: desde tiempos precolombinos hasta nuestros días [Mexican Art: From Pre-Colombian Times to Our Days], contemporary Mexican painting had generated both supportive [...]
    ICAA Record ID: 780039

  • Cuestionario para las entrevistas sobre el interés del arte mexicano con motivo de la próxima exposición que presentará México en París
    Gamboa, Fernando
    1952
    The questionnaire consists of six questions concerning the importance of social art in Mexico. The questions are as follows: Do you believe that the function of art in our time is to deliver an eloquent message of social content to the people? Do you [...]
    ICAA Record ID: 779906

  • Desafiando la pistola cargada de piroxilina de Siqueiros : José Luis Cuevas arremete contra la falsa pintura oficial
    Cuevas, José Luis
    1959
    Following a trip through South America, José Luis Cuevas published this article to announce that in many countries there was no longer any interest in the “rubble” of the Mexican School of painting and its nationalist inclinations. In Venezuela [...]
    ICAA Record ID: 772239

  • Desde Caracas : José Luis Cuevas satiriza la Bienal y traza con ácido corrosivo la caricatura de Siqueiros
    Cuevas, José Luis
    1958
    José Luis Cuevas was in Caracas when he received his invitation to the Bienal Interamericana de Pintura y Grabado [Inter-American Biennial of Painting and Printmaking] and he declined it when he learned of the control exerted by the members of the [...]
    ICAA Record ID: 772221

  • Desfiguración del Arte mexicano : Se la atribuyen a Siqueiros, por su Bolchevismo
    1952
    The painter Manuel Rodríguez Lozano declared in the newspaper Excélsior that Diego Rivera and David Alfaro Siqueiros were mistaken in believing that an attack on communist painting constituted an attack on Mexican art. Rodríguez Lozano maintained [...]
    ICAA Record ID: 758225

  • Ecos de una exposición
    Macgrégor, Joaquín
    1951
    The author of this article criticized Rufino Tamayo’s œuvre, comparing it to Picasso’s Cubism and remarking that the artist was “a servile imitator of the Paris School.” According to MacGregor, Tamayo’s contributions were for this “ [...]
    ICAA Record ID: 772230

  • El arte en París
    Fernández, Justino
    1952
    Justino Fernández provides a roundup of the exhibitions going on in Paris at the same time as the Mexican exhibition in France. Comparing European painting with Mexican, he argues that from the beginning, Mexican painting developed its own language [...]
    ICAA Record ID: 779939

  • El director del INBA falta a la verdad dice Carrillo Gil
    Carrillo Gil, Alvar
    1958
    In a short article published on May 31, Miguel Álvarez Acosta, the director of the Instituto Nacional de Bellas Artes (INBA), stated: “The fact that the best paintings by Rivera, Orozco and Siqueiros did not appear in the Biennial was Carrillo Gil [...]
    ICAA Record ID: 772162

  • El Doctor Carrillo Gil le contesta a G. Camarena
    Carrillo Gil, Alvar
    1958
    Art collector Dr. Alvar Carrillo Gil corrected Jorge González Camarena with regard to his criticism of the Mexican state. Carrillo Gil clarified that he was not questioning the State nor was he against the Bienal de Artes Plásticas [Visual Arts [...]
    ICAA Record ID: 758347

  • El premio otorgado por el INBA al pintor Coronel, ha dividido más a los artistas
    Castro, Rosa
    1959
    The Instituto Nacional de Bellas Artes [INBA, National Institute of Fine Arts] invited all painters, regardless of their trend, to take part in the first Salón Anual de Pintura [Annual Painting Salon]. The selection of works and the awarding of [...]
    ICAA Record ID: 772251

  • En su residencia de Coyoacán tiene Diego Rivera su engendro comunista
    1952
    This article reports on the scandal prompted by the confiscation of Pesadilla de guerra y sueño de paz [Nightmare of War and Dream of Peace], the mural painted by Diego Rivera for the exhibition Arte mexicano: desde tiempos precolombinos hasta [...]
    ICAA Record ID: 804704

  • Explica el maestro Carlos Chávez el asunto relativo al mural de Rivera
    1952
    The painter Diego Rivera requested an interview with composer Carlos Chávez through Alejandro Gómez Arias, the representative of INBAL; Rivera wished to resolve the matter related to his confiscated mural— Pesadilla de guerra y sueño de paz [ [...]
    ICAA Record ID: 804721

  • Exposición de Arte Antiguo y Moderno Mexicano : Museo de Arte Moderno : París, Mayo
    Gamboa, Fernando
    1952
    This is a typewritten draft, with several corrections, of a discussion on mural painting. Fernando Gamboa describes it as an explanatory identity document, and acknowledges the great importance and significance—in the history of Mexico and the [...]
    ICAA Record ID: 792014

  • Extraordinario interés en Europa por conocer el arte mexicano
    1952
    Eager to cultivate Mexico’s good name abroad, President Miguel Alemán made every effort to obtain the best results for the presentation in Paris of artwork created by his Mexican countrymen. Alemán wanted to make sure that this exhibition— [...]
    ICAA Record ID: 779969

  • Formalismo y formulismo : La polémica de Siqueiros en Europa
    Tibol, Raquel
    1955
    During a visit to Poland and the USSR, Siqueiros noticed that some young artists, led by Paúl Reveyrolle, were moving from abstract or semi-abstract work to figurative art, which was clearly social and political propaganda and at the same time, anti [...]
    ICAA Record ID: 758305

  • Fuerte impulso para la pintura mural : Protección decidida a los muralistas : Habla D. Rivera
    Rodríguez, Antonio, 1909-
    1947
    Diego Rivera felt it would be an opportune time to publish the program of activities for the Comisión Nacional de Pintura Mural [National Commission for Mural Painting] given the lack of information that many painters had concerning its function. [...]
    ICAA Record ID: 758037

  • Gangsterismo en la pintura mexicana
    Tamayo, Rufino
    1950
    RufinoTamayo suspected that a mafia mob was standing in the way of the free development of Mexican painting. He complained of being the main target of the attacks, especially concerning his performance at the Venice Bienniale. The Italian and French [...]
    ICAA Record ID: 758210

  • Hubo dificultades para arreglar la exposición de arte mexicano en París
    1951
    In a brief interview, Carlos Chávez, director of the Instituto Nacional de Bellas Artes y Literatura (INBAL, 1947), gives a detailed explanation of the efforts put forth to portray “the interior development of the country and to promote the nation [...]
    ICAA Record ID: 779894

  • Huesped
    Salazar Mallén, Rubén
    1947
    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 [...]
    ICAA Record ID: 755494

  • La Bienal Bis se abre el lunes : Sigue el juicio contra Rayón y Flores : Tamayo expone en el Proteo, no en el INBA
    1958
    Some painters who did not exhibit their work (or who were not selected to display their work) at the Bienal Intramericana de Pintura y Grabado [Inter-american Biennial of Painting and Printmaking] banded together and organized an exhibition that was [...]
    ICAA Record ID: 758372

  • La exposición de arte mexicano en París es un triunfo enorme para México y su arte y para nuestro gobierno
    Gamboa, Fernando
    1952
    This article reports on the success of the exhibition of ancient and modern Mexican art that was presented in Paris and then shipped to Stockholm. In Fernando Gamboa’s opinion, the exhibition was a revelation. The Parisian press described it as the [...]
    ICAA Record ID: 779879

  • La pintura de Tamayo es la negación de la pintura mexicana : Dice Juan O´Gorman
    Rodríguez, Antonio, 1909-
    1948
    Antonio Rodríguez, who interviewed many painters, asked Juan O’Gorman if he thought that Rufino Tamayo—currently famous and fashionable—was actually an extraordinary painter, as he was considered in the United States. O’Gorman thought that [...]
    ICAA Record ID: 758192

  • La pintura mexicana está en decadencia, dice Tamayo : Diego Rivera, José Clemente Orozco y David Alfaro Siqueiros, en declive
    Rodríguez, Antonio, 1909-
    1947
    Rufino Tamayo made no reference to the government initiative being handled by Rivera, Orozco, and Siqueiros, although he expressed his strong opposition to the idea. In 1944 Tamayo had warned that Mexican painting was stagnating and in a state of [...]
    ICAA Record ID: 755507

  • La polémica : Raúl Anguiano
    Adame, María Luisa
    1955
    Raúl Anguiano believed that the best-known painters had made costly mistakes and had experienced great failures. He referred to the “pintura bajo el agua” [“underwater painting”] by Diego Rivera as much as to the sculpture-painting by [...]
    ICAA Record ID: 758256

  • Languidece la pintura mexicana : Pero con bombo y platillos
    Tamayo, Rufino
    1956
    Rufino Tamayo believed that Mexican painting was dead because, “the vitality that nourished and strengthened it during its youthful period is now old; this premature aging is a result of painting’s laziness and static condition.” Tamayo [...]
    ICAA Record ID: 759053

  • Los elogios y los desdenes a la Bienal son prematuros
    Crespo de la Serna, Jorge Juan
    1958
    Art critic Jorge Juan Crespo de la Serna believed that it was unfair to lodge harsh criticism against an international art competition like the first Bienal Interamericana de Pintura y Grabado [Inter-American Biennial of Painting and Printmaking], [...]
    ICAA Record ID: 772170

  • Los pintores máximos de México en la Bienal
    Crespo de la Serna, Jorge Juan
    1958
    The art critic Jorge Juan Crespo de la Serna was very disappointed that Rufino Tamayo had not participated in the Bienal Interamericana de Pintura y Grabado [Inter-American Biennial of Painting and Printmaking], and felt it was a capricious decision [...]
    ICAA Record ID: 769946

  • María Izquierdo vs. Los Tres grandes
    Izquierdo, María
    1947
    In this article, painter María Izquierdo again decides to express her viewpoint without the use of intermediaries. She had done so one month before and here she again declares her disapproval of the monopoly created by the Comisión Nacional de [...]
    ICAA Record ID: 792897

  • México triunfa en Venecia
    1950
    The XXV Venice Biennale was held in 1950. The event has been held every two years since the beginning of the twentieth century. The prizes were established by the Presidency of the Ministers’ Council: one for a foreign painter and another for an [...]
    ICAA Record ID: 759059

  • No hay crisis en la pintura solo estancamiento
    Cardoza y Aragón, Luis
    1957
    In this article, Luis Cardoza y Aragón reviews the events of 1957, and laments the deaths of Diego Rivera and Miguel Covarrubias. He lists the various exhibitions taking place in Mexico City, including different murals, such as the Fanny Ravel in [...]
    ICAA Record ID: 769904

  • Nuestra pueril, onerosa bienal de arte plásticas
    Carrillo Gil, Alvar
    1958
    On the occasion of the first Inter-American Biennial of Painting and Printmaking, Miguel Salas Anzures, chair of the Visual Arts Department of the Instituto Nacional de Bellas Artes (INBA), interviewed the art collectors Inés Amor and Dr. Alvar [...]
    ICAA Record ID: 770451

  • Ofensiva contra Tamayo
    Lizardi Ramos, César
    1951
    Diego Rivera thought the name “Tres Grandes” [The Big Three] was ridiculous. He also did not think that Rufino Tamayo should be included in the “trio” because his work was very different from theirs. Though Rivera considered Tamayo to be a [...]
    ICAA Record ID: 768019

  • Opina González Camarena : La nuestra es pintura distinta
    González Camarena, Jorge, 1908-1980
    1956
    Jorge González Camarena did not believe that Mexican painting was in decline as asserted by Rufino Tamayo, rather it was in a stage of exploration. However, it should not lose its local and national character, which Camarena believed should be [...]
    ICAA Record ID: 758315

  • Orozco no cambia, no investiga, siempre se repite : Tamayo está listo para defenderse : La controversia sigue su marcha
    Rodríguez, Antonio, 1909-
    1947
    In this interview by Antonio Rodriguez, Rufino Tamayo responds to José Clemente Orozco and explains what he means by the stagnation and the decadence of Mexican painting. In Tamayo’s opinion, the post-revolutionary pictorial movement initially [...]
    ICAA Record ID: 755525

  • Primeros truenos de la Bienal
    Tibol, Raquel
    1958
    The Argentine art critic, Raquel Tibol, interviewed three painters, asking them for their opinions about the organization of the first Bienal Interamericana de Pintura y Grabado [Inter-American Biennial of Painting and Printmaking]. In order to have [...]
    ICAA Record ID: 770459