کتاب نقاشی انقلاب: هنر مدرنیسم مکزیک

At the Revolution Mexican Modernism, 1910-1950, the exhibition presented by the Secretaria de Cultura at the Museo del Palacio de Bellas Artes in collaboration with the Philadelphia Museum OF Art, addresses one of the apexes of Mexico’s cultural history, when artistic practice advocated transformation and reestablished a certain affinity with European avant-garde models, while also promoting an ideal of the Mexican consciousness, to generate novel artistic proposals that would be reflected in such disparate spheres as the graphic arts, casel painting, drawing, and muralism
During the first decades of the twentieth century, our visual arts were nourished by changes in aesthetics and other aspects of national and international life. The most visible concern of this renewed art, and its primary subject matter, was the common people.
Individuals.groups, and movements progress through the pages of this catalogue, and on the walls of the museums mentioned above, where the works they produced can be reconsidered in the light of new perspectives, giving a face to an era that, as is happily the case with many such periods, endures in the timeless fashion of art.
Paint the Revolution: Mexican Modernism, 1910-1950 recalls the careers and legacies of the artists involved. We encounter emblematic figures alongside others less known but of equal merit: the muralists, the artists of the Open-Air Painting Schools, Estridentistas, Surrealists, Contemporáneos, the People’s Graphic Workshop, the League of Revolutionary Writers and Artists (LEAR), the 30-30l group, the exiles, photographers, filmmakers, architects, and many others whose innovative efforts significantly contributed to the world of art.
We wish to acknowledge the authors of the essays, which will become a part of the readings for new generations and for those knowledgeable about our artistic tradition, and the cre ators of the exhibition’s curatorial concept, which demonstrates the importance of our nation’s modern art in the construction of Mexico’s aesthetic identity worldwide.
In response to another broad and inclusive retrospective of Mexican visual arts, the critic Luis Cardoza y Aragón wrote: “I think, or rather dream and believe in my imagination, the portrait of Mexico being painted by its artists. It is like a mosaic in which each one participates with his or her gifts and most perfect achievements.” And, he added: “We recognize Mexico as the sum of them all.”