Documents of Latin American and Latino Art

This document is an anthology containing a collection of etridentista poems and manifestos. It includes an extensive bibliography. Luis Mario Schneider [L. M. Sch.] contextualizes their works within the cultural panorama of that time [...]

This is the manifesto poster that gave rise to the Estridentista movement in Mexico. The poet Manuel Maples Arce issued the leaflet Actual as an aggressive vexation against the consecrated personalities of the literary milieu; said proclamation was [...]

This is a summing up, by one key figure of the estridentista movement and of its impact, in spite of the small size of the group. Germán List Arzubide recounts, twenty years later, what Estridentismo consisted of, how the movement started as a [...]

This article is a commentary about the unsuccessful display in New York of the calogramas [also known as Kallograms] by the Mexican José de Torres y de Palomar, among other reasons, for having refused to transform his graphic proposals into [...]

This article by Ramón Gómez de la Serna, called an “especial” [special contribution] to the magazine Zig-Zag, refers to an “espantosa” [dreadful] exhibition: the First International Dada Fair. The Spanish writer describes German Dadaism as [...]

In his article the poet from Monterrey, Rafael Lozano, refers to the leaders of Dadaism: Tristan Tzara in Zurich, Switzerland and Francis Picabia in New York. He hopes sarcastically that the tenets of Dadaism will be sung just like the French [...]

This article contains images and commentary on the national exhibition of Futurism that took place in Milan in March of 1919. According to the founding father of the movement, the word “futurista” means “revolucionario, novador [sic], [...]

This is the frontispiece of the book of poems El viajero en el vértice [The Traveler at the Vortex] (1926) by Germán List Arzubide, one of the key figures of estridentismo. Both the cover as well as the vignettes of this collection of poems were [...]

Based on this description by the chronicler of Estridentismo and director of the magazine Horizonte, Germán List Arzubide, said publication was sponsored by the revolutionary government of the State of Veracruz. The magazine got its impulse from the [...]

Manuel Maples Arce traces an overview of the sculptor Germán Cueto’s avant-garde œuvre, in Mexico as well as in Spain, followed by Cueto’s collaboration with the estridentista movement, his later stay in Paris and his return to Mexico. He [...]

After mentioning the contributions of Diego Rivera and Dr. Atl, the author emphasizes the importance of Guillermo Ruiz, as a prototype of cubist art, also identified with planismo [a flat-like fad] in sculpture. The author asserts that Ruiz produces [...]

This is an attempt by Febronio Ortega, a Mexican correspondent in Europe, to define the particular traits of the ultraist movement launched in Spain during the period following the First World War, and spread to America, (mainly Argentina) as a new [...]

This is a poetic review tracing the history of the invention of that meeting place taken over by the Estridentista movement. They consider it their meeting place for appropriate get-togethers, their planning quarters for their actions against [...]

This is the second manifesto made public by a new estridentista front located in the city of Puebla. This manifesto makes fun of the local literary glories, but especially of the patriotic values with such deep roots in that city, such as the hero of [...]

Metropolis —a translation written by John Dos Passos of Urbe—Bolshevik Super Poem in Five Cantos is a collection of poems dedicated to the workers of Mexico, in which Manuel Maples Arce shapes his conception of a city, at the same time [...]

This text establishes Diego Rivera’s importance as the head of the Mexican estridentista movement in the arts. It announces the creation of the Salón Independiente, a strategic exhibition space for the avant-garde in Mexico, on which he gives no [...]

In this text, the poet Manuel Maples Arce connects the use of the “sidero-cemento” [iron and steel cement] to geometric purity, monumentality, and the workers’ progress. He writes about the construction system of primitive peoples and [...]

This is a visual poem by the Mexican draftsman Marius de Zayas, in collaboration with the United States writer Agnes Ernst Meyer. Based on a poem by Meyer, De Zayas produced this “psycho-type” whose belated translation into Spanish was written by [...]

Rubén Darío kept in close contact with the Mexican artists settled in Paris, such as Alfredo Ramos Martínez, Roberto Montenegro, Ángel Zárraga, Diego Rivera, and Dr. Atl. This statement by Ernesto Mejía Sánchez documents the exchanges with the [...]

Showing its affinity with the ideas of Estridentismo, the magazine Ser reproduces on its cover an ideographic portrait that captures the psychological image of Manuel Maples Arce, a “champlave” [sic] of Jean Charlot, which through its fragmented [...]

In his review dated November 1918, the poet, critic and Mexican diplomat José Juan Tablada reports on three Mexican artists who have become part of the New York avant-garde: Marius de Zayas, Juan Olaguíbel and José de Torres y de Palomar. Tablada [...]

This is a partial summary of the first estridentistaparty with masks, paintings, watercolors, and drawings on walls. Arqueles Vela participates by telling about the history of that meeting space; in addition there are poetic interventions such as [...]

This is an interview in which Manuel Maples Arce, the founding father of Estridentismo movement, explains his most recent avant-garde battleground set at the bookstore Librería de César Cicerón and the new aesthetics announcement of what is being [...]