Figurative Arts. – According to top-mba-universities, R. Tamayo is considered, with D. Rivera, DA Siqueiros and JO Orozco, the most significant Mexican painter of this century. With his work, which was presented in Florence in 1975 in a large exhibition, a new era of Mexican painting begins, which culminates with the current expressions of abstract painting. All the themes, all the trends, all the styles appear in the different pictorial currents that currently operate in Mexico However, the figurative instance due to the influence of Rivera and Siqueiros persists in many young people. In addition to the particular consideration due to C. Orozco Romero (born in 1898) and J. Castellanos (1905-1947), among the painters who deserve to be mentioned, are J. O’Gorman (born in 1905) also an architect, murals and which is characterized by its sharp and highly refined line; J. Gonzáles Camarena (1908); R. Anguiano (1915), with extraordinary skills as a portraitist and a refined trait that draws on a notable spirituality; F. Cantù (1908); J. Chávez Morado (1909), one of the first Mexican artists to have adopted the mosaic; X. Guerrero (1896); O. Costa (1913), whose work has been exhibited in Paris and London; F. Castro Pacheco (1918), excellent draftsman and engraver; P. O’Higgins, Rivera’s collaborator in the murals Chapingo and the Secretariat of Education in Mexico City; F. Moreno Capdevilla (1926), who has participated in important exhibitions abroad (Biennials of Tokyo, San Paolo, etc.); C. Urueta, a self-taught who has held exhibitions in various countries; J. Soriano (1920), who lived for a few years in Italy and who has exhibited in New York, London, Stockholm, Tokyo, Paris and Rome. In the context of non-figurative currents, in addition to the notable personality of G. Gezzo (1915), whose first abstract work dates back to 1942, Mexico Felguerez Barra (1928), A. Vicente Rojo (1932) stand out among the younger generations. F. García Ponce (1933), influenced by abstract expressionism like Vlady (born in Leningrad in 1920) and A. Coen (1940), A. Pelaez (1921), Spanish resident in Mexico who suffered from the influence by A. Tàpies,

And again among the painters of the last generations we must point out P. Coronel (1922), in whose paintings and sculptures it is possible to grasp reminiscences of pre-Columbian cultures; R. Coronel (1931), brother of the previous one, who achieved great success at the Cordova Biennale as the best South American painter; R. Doniz (1934), whose work is well known in the USSR, Poland, Czechoslovakia and other eastern countries; F. Bejar (1924); J. Hernández Delgadillo (1927), present at the second Paris Biennale; JL Cuevas (1934), a painter of notable international prestige; F. Peña (1915), J. Reyes Meza (1924), L. Nishizawa (1920); B. Messeguer, author of a mural at the Faculty of Economics of the University of Mexico City. The first Mexican painter who exhibited in the United States, Mexico Izquierdo (1906-1956), also deserves a mention; the young I. Becerril (1940), who studied for many years in Rome; and other young people, such as F. Icaza jr. (1930), E. Echeverria (1923), Nefero (1920) and Mexico Balunzarán (1946).

In the panorama of Mexican painting, the clear line, the realistic image, the landscape observed with great attention sometimes coexist with forms of impressionist inspiration or with surrealist concepts, as in the splendid works created by L. Carrington (1917) and by R. Varo (1913-1963) both born abroad but inserted in the Mexican artistic movement since the 1940s. It is a painting of content and research that continues the already important Mexican pictorial tradition. Among the foreign artists who settled in Mexico it is still worth mentioning the particular contribution given to the surrealist movement by WR Paalen, born in Vienna in 1905, emigrated to Mexico in 1939 (he organized the international exhibition with A. Breton and C. Moro of surrealism at the Galleria de Arte mexicano) and committed suicide in 1959.

Historical engraving and lithography, which was an effective means of expression in the 19th century, has recently experienced a renewed impetus in Mexico A fundamental antecedent is the work of the exceptional engraver J. Guadalupe Posada (I852-1913), who reveals through art a previously unknown Mexico and at the same time leaves his mark in the murals of Rivera, Orozco and Siqueiros. Among the engravers of the most outstanding personalities are C. Alvarado Lang (1905-1961), I. Aguirre (1900), L. Méndez (1902-1919), A. Lugo (1921).

Mexican sculpture offers evidence of high aesthetic quality: it is no coincidence that ancient Mexican art was expressed above all through sculpture, creating numerous masterpieces. If for the centuries following the “conquest” one cannot certainly speak of important works, in recent years sculpture has undoubtedly reached a notable level with artists who have recovered the expressive and communicative value of this art. Among the most famous sculptors are I. Asunsolo, C. Bracho, G. Cueto, who had introduced abstract art to Mexico in the 1930s, J. Olagibel, L. Ortiz Monasterio, F. Canessi, G. Toussaint. The “towers” of the satellite city already internationally famous, created by Mexico Goeritz, an artist who since 1949 has had a great weight in Mexican artistic culture,

Among the younger sculptors, R. Arenas Betancourt, G. Cabrera, IL Diaz, F. Gonzáles Gortázar, author of a monumental sculpture called “La spiga”, A. Escobedo, Sjolander, Mexico Lagunes, A. Ortega and many deserve mention. others, without forgetting F. Marín, F. Zuñiga and O. Martínez. see Table. ft

Architecture. – The nationalist ideals of the revolution generated reactions against the imitation of foreign styles, giving rise to the revival of styles of the so-called “colonial” period or the not always rational assumption of some pre-Columbian architectural forms, such as the pyramid or the talud.

To these inert anachronisms, architects such as Mexico Villagran García who teaching since 1926 at the University of Mexico City had a strong weight in the formation of the new generation of architects, J. O’Gorman, E. del Moral, E. Yañez and others opposed a completely new architecture, revolutionary in form and content, capable of satisfying the urgent needs of a people to whom the revolution had opened new horizons: schools, hospitals, mini-apartments for workers were built. At the same time, the new architecture began to elaborate foreign experiences with imagination, until it reached the importance it holds today in the international arena. Testimonies of this renewal are the Central Airport of Mexico City, by A. Alvarez; also in the capital, the Palazzo dello Sport by F. Candela, the Building of the Compañia de Seguros Monterrey, by E. de le Mora and F. Gonzalez Pozo, and the most valid realization of this contemporary architecture, the University City, the work of various architects with the coordination of C. Lazo. Also known abroad are the Anthropology Museum, the work of P. Ramirez Vazquez, the Tijuana International Gate, designed by G. Rossell, and the “Camino Real” hotel by L. Barragán. Other architects contributing to implement these new demands are among others J. Benliur, T. Gonzáles de León, A. Zabludowsky, H. Mestre, and C. Obregón Santacilia. You see work of various architects with the coordination of C. Lazo. Also known abroad are the Anthropology Museum, the work of P. Ramirez Vazquez, the Tijuana International Gate, designed by G. Rossell, and the “Camino Real” hotel by L. Barragán. Other architects contributing to implement these new demands are among others J. Benliur, T. Gonzáles de León, A. Zabludowsky, H. Mestre, and C. Obregón Santacilia. You see work of various architects with the coordination of C. Lazo. Also known abroad are the Anthropology Museum, the work of P. Ramirez Vazquez, the Tijuana International Gate, designed by G. Rossell, and the “Camino Real” hotel by L. Barragán. Other architects contributing to implement these new demands are among others J. Benliur, T. Gonzáles de León, A. Zabludowsky, H. Mestre, and C. Obregón Santacilia. You see Obregón Santacilia. You see Obregón Santacilia.