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Index
Tatiana Flores
Description: Mexico’s Revolutionary Avant-Gardes: From Estridentismo to ¡30–30!
Mexico’s Revolutionary Avant-Gardes: From Estridentismo to ¡30–30!
Index
Author
Tatiana Flores
PublisherYale University Press
Copyright© 2013 by Tatiana Flores
https://doi.org/10.37862/aaeportal.00083.012
Stable URL: https://aaeportal.com/?id=-15124
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Index
Page numbers in italics refer to illustrations.
¡30–30! (movement), 1–3, 6–7, 14–15, 264–300, 301, 304, 333n62
¡30–30! Órgano de los pintores de México, 280–83, 283, 293, 294, 295
Academy of San Carlos: ¡30–30! and, 300–302
Estridentista associations with, 49–50, 52–56, 71–72, 253
folk art and, 163
Open-Air Painting Schools and, 52–56, 265, 270–81, 285–99
student strike at, 2, 15, 38, 53, 110–11, 314n35. See also Estridentismo; Mexico; Open-Air Painting Schools; Ramos Martínez, Alfredo
Actual No. 1 (Maples Arce): aesthetic doctrines of, 7, 9, 24–25, 27–30, 47, 49–50, 60, 85, 89–92, 95–97, 117, 124, 134–35, 154–56, 158, 160, 185, 189, 232, 260–61, 266, 279–85, 304
antinationalism of, 51, 279–85
directory in, 25, 27, 31, 44, 138, 197, 215, 310n63
images of, 18–19
inspirations of, 30–32, 35–47
phallic imagery of, 29, 38, 153, 156
posting of, 1–3, 13, 15, 17, 303
Actual No. 2 (Maples Arce), 6, 92
Actual No. 3 (Maples Arce), 92, 92, 92–93, 95
“La Adelita” (corrido), 205, 220
The Adoration at Chalma (Charlot), 218–19, 219
advertisements, 37, 44, 100, 125, 125, 127, 145, 190–91, 200
“The Aesthetic Movement in France” (Mondjalow), 34
aesthetics: Actual No. 1 and, 27–30, 49–50, 85, 124, 135, 142–43, 155–56, 189
avant-garde movements and, 3, 89–92, 163–64, 180, 279, 284–85
bourgeois understanding of, 1, 17, 20–21, 32, 87, 106, 131, 139, 160, 164–67, 265–67
definitions of, 279
Estridentista manifestos and, 13–14, 59, 124–31, 157
folk art and, 162–76, 181–89, 191–96, 201
lyrical tradition and, 1, 25–26, 96, 310n63, 311n99
neoclassical impulses in, 29, 31–35, 40, 44–45, 70, 83, 114
official culture and, 50–56
Social Realism and, 1, 226–27, 227, 230, 253, 276, 302
Vela and, 147–48
After the Rain (Revueltas), 98, 98, 99–100
El Águila (company), 116–18, 212–13, 243
Aguilar, Cándido, 211–12
Aguillón Guzmán, Miguel, 155, 207, 246, 256
Albarrán y Pliego, Luis, 274
Allegory of the Virgin of Guadalupe (Revueltas), 13, 102–9, 112, 114
Alva de la Canal, Ramón: ¡30–30! and, 264–69, 296, 302
Academy of San Carlos and, 50, 55, 72, 300
avant-garde aesthetic of, 252–64
Building of the Estridentista Movement, 248
El café de nadie, 197–98, 198–99, 200, 205, 207, 251
collaborations of, 89, 112, 195, 203, 223
Crane, 111, 111;
El Crucificado, 235, 235
Estridentismo role of, 2, 52, 253
folk art and, 164
Fruit Vendor, 253
Horizonte and, 215
images of, 12
Movimiento estridentista and, 245–47, 250, 250, 251;
“Muestrario de mujeres,” 254
murals of, 73, 285–86
Panchito Chapopote work and, 256–62, 259–62, 297
El Pípila, 218, 218, 219
The Planting of the Cross in the New World, 110–16
Radio Station for Estridentópolis, 252
La rumba, 258
El sembrador, 235, 236
Untitled, 255
Veracruz Port, 263
in Xalapa, 207, 243–44, 254–64
Zapatistas, 220–21, 221
Alvarado, Pedro de, 81
El amigo de la parranda (Leal), 175
Andamios exteriores (Revueltas), 107, 108, 116
Andamios interiores (Maples Arce), 93–94, 93–97, 107–8, 147, 155, 246, 249
Anderson, Benedict, 51 Ángel, Abraham, 166, 166
Antena (journal), 162
anthropology, 75–76, 176
Antliff, Mark, 160
La Antorcha (journal), 117
Apollinaire, Guillaume, 25, 322n18
Applied Art (publication), 145
architecture, 53
Arensberg, Walter Conrad, 34
Argüelles Bringas, Gonzalo, 268, 279
art: academic approaches to, 1–2, 21, 24–27, 52–56, 92, 265, 270–81, 283, 285–99
criticism and, 89–92
cult of genius and, 285–89
everyday life and, 3, 44, 47, 50, 154, 161, 272, 286, 296–99
formal concerns of, 2, 93–97, 99–102, 157, 226, 229–30, 318n13
high-low cultural divide and, 3, 120, 161, 200, 296–99
as labor, 163, 185–89, 215–16, 274–79
lyrical poetry and, 1, 25–26, 96, 311n99
manifestos pertaining to, 14, 20–35, 39–44, 155–56, 280–82, 281, 283–89, 293, 301
nationalism and, 14, 44–47, 50–52, 72–81, 102–9, 116–24, 270–79
neoclassicism in, 29, 31–35, 40–45, 70, 83, 114
official culture and, 50–52, 55, 87
patronage and, 51, 67–72, 116–17, 134, 293
politics and, 1–3, 14–15, 92–97, 106–9, 207–10, 213–14, 240–45, 252, 256, 265–92, 302
social change and, 2–4, 30, 54–55, 87, 91, 104, 116–24, 147–48, 184–91, 200–205, 220–40, 265–300, 314n30
technology and media choices in, 1–2, 7–9, 8, 9, 10, 11, 13, 47, 116–24, 162–76. See also aesthetics; avant-garde; cosmopolitanism; Estridentismo; modernity; specific artists, groups, journals, media, and works
Las artes populares de México (Dr. Atl), 168
“Art for Workers” (Molina Enríquez), 278–79
Art Nouveau, 92
Arts and Crafts movement, 168
Asúnsolo, Nacho, 86
Audiffred, Andrés C., 136, 136, 137
avant-garde: ¡30–30! and, 268, 280–302
Alva de la Canal and, 252–64
collectivism and, 279–85, 293–300
contradictions in, 1, 13–14, 17–20, 34, 39–44, 118, 124–31, 160–62, 178, 219, 220, 254–64, 278–79
cosmopolitanism of, 9, 14, 17, 25, 27–35, 45–46, 89–92, 121, 161, 173
definitions of, 1–2, 20–21, 27
folk art and, 160–76, 299
formal innovations of, 2, 37, 89–97, 116, 131, 153–54, 160, 171, 176, 188, 188, 191–92, 192, 196, 204, 226, 229–30, 260–61, 305, 318n13
gender and, 4, 37, 96, 121, 147, 152–54, 221, 246–49, 253–54
global reach of, 2–3, 17, 121, 139–42, 173, 256
journalism and, 131–55
muralism and, 48–52, 83, 313n1
nationalism and, 14, 49–52, 72–81, 102–9, 116–24, 270–79
pedagogical concerns of, 50–52, 270–79
provocation and, 2, 44–47
rivalries within, 92, 152, 217, 284–92, 300, 302, 319n16
social change as goal of, 1–3, 79, 116–24, 127, 154, 161–62, 184–91, 200–205, 213–45, 247, 254–66, 285–92, 300–303
Ultraísmo and, 35–39, 323n98
“A veces, con la tarde” (Maples Arce), 95
Avión (Kyn Taniya), 193
Aztecs, 81–82, 84–86, 245, 274–75
Azul (Darío), 26
Bakhtin, Mikhail, 257
Bar at the Folies-Bergères (Manet), 59
Barradas, Rafael, 35
Barreiro Tablada, Enrique, 207
Barthes, Roland, 77
Baudouin, Paul, 84
Beals, Carleton, 77, 167, 242, 252, 325n31
Beauduin, Nicolas, 140
Bell, Clive, 279
Benjamin, Thomas, 314n30
Benjamin, Walter, 279
Best Maugard, Adolfo, 165, 167, 268, 324n27
Biblioteca Popular de Veracruz, 241
Black Christ (symbol), 74, 77, 104
Boas, Franz, 165
Boating (Manet), 59
Bohn, Willard, 322n18
Bolaño, Roberto, 4–7
Bolaños, Mateo, 55, 91
Bolaños Cacho, Fernando, 143, 144, 144, 145, 145–46, 147, 197–98, 322n40
Borges, Jorge Luis, 3, 28–29, 31, 35, 97, 140, 142, 308n3
Borges, Norah, 35, 140, 142
Los borrachos (Velázquez), 63
Bosques, Gilberto, 246
bourgeoisie: Bürger and, 20–21, 163–64
Maples Arce and, 17, 20, 106, 124, 201
Mexico City neighborhoods and, 27–28
Vela on, 147–48. See also aesthetics; avant-garde; social change
Brecht, Bertolt, 279
Brenner, Anita, 61, 74, 77, 81, 160, 167
Breton, André, 25, 152
Buchloh, Benjamin H. D., 44–46
El Buen Tono (company), 38, 125, 125, 126, 127, 200
Building of the Estridentista Movement (Alva de la Canal), 248
Bulletin Dada #6, 34
Bürger, Peter, 3, 15, 20–21, 44–50, 79, 134, 161–64, 279, 286, 303, 312n143
The Burial at Ornans (Courbet), 75, 77
Burial of the Slain Worker (Siqueiros), 320n47
Cabildo, Raziel, 164
Cabrera, Rosario, 268, 289, 300
Cachuchas (group), 203–5
Los Cachuchas (reproduction), 205
El café de 5 centavos (Revueltas), 126, 128
Café de Nadie, 14, 156, 160, 197–205, 246, 250–51
El café de nadie (Alva de la Canal), 197–98, 198–99, 200, 205, 207, 251
“El café de nadie” (Vela), 197, 200, 210
Las calamidades de México (Audiffred), 136, 136
Calaveras de artesanos (Posada), 168
Calles, Plutarco Elías, 214, 230, 241–43
Camera Lucida (Jaar), 269
Campamento de un coronel zapatista (Leal), 61, 62, 63, 65, 67, 72, 78
Cano, Ramón, 56, 268
Cansinos-Asséns, Rafael, 35, 312n117
Canto de los hombres (Modotti and List Arzubide), 230, 232, 234, 237, 240
Cárdenas, Lázaro, 117, 267
Cargador (Charlot), 184
El Cargador (Charlot), 182, 183
Cargadores (Charlot), 121, 122
Carranza, Venustiano, 54–55, 211–12
Carrière, Eugène, 34
Carta Blanca (company), 296
Casanovas, Martí, 280, 296
Castillo, Guillermo, 201, 205
Castro-Gómez, Santiago, 3
Catholicism, 59, 82, 112, 114, 241–45
Cendrars, Blaise, 37, 312n146, 321n89
Centro Popular de Pintura Saturnino Herrán, 272
Centros Populares de Pintura, 267, 279
Cervantes (journal), 35
Cervezas Moctezuma (company), 38, 125–26, 200
Cézanne, Paul, 34, 40–41, 91, 289
Chagall, Marc, 31
Chakravarty, Dipesh, 87
Charlot, Jean: ¡30–30! and, 334n78
The Adoration at Chalma, 218–19, 219
aesthetics of, 50, 218–19, 219
Café de Nadie exhibition and, 200–205
Cargador, 184
El Cargador, 182, 183
Cargadores, 121, 122
Chemin de Croix, 169, 169
Chicken Vendor, 181, 181
collaborations of, 72–88, 112, 115–16, 118, 156, 173, 178–80, 184–91
cosmopolitanism of, 1, 167, 178, 180
Coyoacán work of, 62–67, 72, 266
Estridentismo role of, 2, 177–84, 188–89, 198, 246, 265
La gata de Santa Anita, 173
Horizonte and, 215
Lavanderas, 121, 123
Luz with Parrot, 64, 65
Man with Cigarette (Trinidad), 65, 66
Market Woman, 181–82, 182
Massacre at the Templo Mayor, 48–49, 81, 81–86, 82–83, 87, 105, 115
Mexican Mural Renaissance, 313n14
Mother and Child, 181
Movimiento estridentista and, 250–51
murals of, 13, 73, 103, 110
nationalism and, 52
Old Woman, Santa Anita, 174
Portrait of Manuel Maples Arce, 194, 194
Posada and, 168
Psychological Portrait of Manuel Maples Arce, 178, 179
religiosity of, 81–83, 112
Rivera and, 68, 105
Trinidad, 171
Two Mothers, 178, 178, 181
woodblock prints of, 14, 143, 171, 175, 185–86, 186, 187, 187, 188, 188, 201
Chekhov, Anton, 214–15
Chemin de Croix (Charlot), 169, 169
Chicken Vendor (Charlot), 181, 181
Chicontepec, 210–11
cities. See urban centers La ciudad letrada (Rama), 24
“La ciudad múltiple” (Rivas), 144
class concerns: avant-garde movements and, 17, 20, 23, 54–55, 106–9, 116–24, 210–40, 247, 254–64, 270–79
Mexican artists’ backgrounds and, 13, 21–24, 120–21, 134, 161–62
Vera-cruz and, 14, 210–14, 252–64. See also avant-garde; Communism; Estridentismo; social change
Clausell, Joaquín, 268
Coignard, Jerónimo. See Zamora, Francisco
The Collective Model (Leal), 272, 273, 276–78
collectivism, 1, 270–85, 293–300
colonialism, 59–60, 75, 81–87, 104, 112–13, 158, 163–65, 262–63, 304
commissions, 51, 67–72, 116–17, 134, 293
Communism, 3, 32, 157, 167, 184, 213, 217, 230, 237–38, 256, 265, 302
Communist Manifesto (Marx and Engels), 32
Conquistas de la Revolución (Modotti), 237, 237, 238
Conservadores conservados (Revueltas), 282, 282, 297
Constitution of 1917, 21, 51, 238
Contemporáneos (group), 92, 152, 217, 284–92, 297, 300, 302, 319n16, 336n142
Contemporáneos (journal), 2, 15
Cordero Reiman, Karen, 164–65, 267
Corner Relief (Tatlin), 249
Coronel Rivera, Juan Rafael, 68–69
corridos, 162, 205, 220, 294–95, 299
Cortázar, Julio, 5
Cortés, Hernán, 81–82, 210
Cosío Villegas, Daniel, 214
Cosmópolis (journal), 35, 97
cosmopolitanism: Estridentismo and, 1, 4, 27–35, 48, 121, 139, 142–43, 151–52, 159–62, 173, 191, 206–10, 214–15, 256, 263–64, 303–6
Mexico City and, 89–92, 136, 136, 137
muralism and, 52, 67–72
nationalism and, 14, 17–20, 51, 89–92, 167, 215, 303–6
Un coup de dés (Mallarmé), 191
Courbet, Gustave, 76–77
Coyoacán (painting school), 56–68, 72, 97, 116, 170–71, 266–79. See also Open-Air Painting Schools
Crane (Alva de la Canal), 111, 111
Craven, David, 303–4
Creacionismo, 37
Creation (Rivera), 48, 52, 67–72, 69, 73, 103–5, 114–15, 118, 139, 286
Cristero Rebellion, 241–45
Crow, Thomas, 161, 165
Crowninshield, Frank, 291–92
El Crucificado (Alva de la Canal), 235, 235
Cubism, 29, 34, 37–42, 67, 70, 75, 91–99, 116–17, 139, 197–98, 253, 258, 322n18
Cuesta, Jorge, 285
Cueto, Germán, 14, 152, 158, 158–59, 191–95, 192, 198, 201, 245–56, 249, 302
Cueto, Lola, 2, 55, 195–96, 196, 215, 302
Cultural Missions program, 302
Dactilográfica (Modotti), 237–39, 238
Dada, 1, 20, 33–34, 37, 71, 105
Dance of the Crescent Moon (Leal), 176, 176
Dance of the Little Deer (Leal), 177
Dancers (Leal), 176
Darío, Rubén, 26, 311n99
Davis, Stuart, 189
Degas, Edgar, 34, 59
Le déjeuner sur l’herbe (Manet), 63, 65
de la Cueva, Amado, 118
Dalevuelta, Jacobo, 298
El Demócrata (ENP), 71
Desnos, Robert, 242, 330n92
Díaz, Porfirio, 21–22, 53, 67, 163, 211–13, 314n23
Díaz de León, Francisco, 55, 56, 63, 266–71, 271, 272, 289–90, 300–302
El Dictamen (newspaper), 241–42
“Diego Rivera, Painter” (Maples Arce), 90
Diner, Gaston, 247, 250
“Diorama estridentista” (Maples Arce, ed.), 139, 140–41, 142
“Direct Carving” (Fontainas and Vauxcelles), 274
“Directory of the Avant-Garde” (Actual No. 1), 25, 27, 31, 197, 215, 310n63
Dolores, Celia María, 246
d’Ors, Eugenio, 292
Dos Passos, John, 184
Dowager and Newsboys (Charlot), 178
Dr. Atl, 55, 134, 138, 147, 164–65, 168, 300, 313n18
Dufy, Raoul, 34
Dunan, Renée, 27
Dürer, Albrecht, 74
Dussel, Enrique, 88, 304
Eakins, Thomas, 77
Echeverría, Pedro, 92
Ediciones del Movimiento Estridentista, 177, 188
education: anti-academic pedagogies and, 270–79, 283–99
Mexico’s university system and, 9, 11, 21–22, 118, 241, 266–69, 285–99
revolutionary ideals and, 50, 241–45. See also Academy of San Carlos; art; Mexico; Open-Air Painting Schools
The Elements (Siqueiros), 116
Eliot, T. S., 288
Elizondo, Fidias, 293
“El verdadero origen del jazz” (Bolaños Cacho), 143
Encina, Juan de la, 284
Enciso, Jorge, 164, 268
Engels, Friedrich, 32
England, 168
ENP (Escuela Nacional Preparatoria), 67–71, 78, 86–88, 116–18, 203, 285–86, 295, 302
“Esas rosas eléctricas” (Maples Arce), 97
Escuela de Escultura y Talla Directa, 267, 274, 276, 278
Escuela de Pintura al Aire Libre. See Open-Air Painting Schools Escuela Nacional de Bellas Artes. See Academy of San Carlos specific people and works
Escultura y talla directa (Fernández Ledesma), 274–76, 275
Esquina (List Arzubide), 140, 157, 180, 180, 185
Estridentismo: ¡30–30! and, 266
aesthetic of, 27–30, 89–92, 97–109, 124–31, 256–62, 280, 318n13
coherence of, 177–84, 254–64, 310n52
collaborations within, 56–67, 72–87, 92–102, 110–16, 139, 184–89, 322n40
Contemporáneos and, 92, 152, 217, 285–92, 297, 300–302
cosmopolitanism and, 1–2, 4, 13, 30–39, 47–48, 56–63, 74, 139, 142–43, 159, 191, 206–10, 215–17, 256
critical receptions of, 46–47, 131–47, 308n12
definitions of, 1, 17, 135, 137
exhibitions of, 197–205
folk art and, 162–76, 181–89, 191–96, 201
gender concerns and, 4, 37, 96, 112, 114–15, 121, 139, 147, 152–53, 178, 202, 203–4, 204, 221, 246, 248–49, 253–54
historical work on, 4–7, 245–52
homophobia and, 152, 284–85, 300
humor and, 158–59
inclusiveness of, 90–92, 132–33, 200–201, 205, 250–51, 331n140
journals of, 124–31, 147–55
leadership of, 2–3, 5–6, 89–92
muralism and, 13–14, 50, 71–72, 110, 110–24, 188–89, 326n77
nationalism’s relation to, 33–34, 57, 72–81, 158–59
primitivism and, 66, 73, 104, 160–62
social concerns of, 13, 157–58, 167, 184–91, 200–205, 213–40, 247, 254–64, 285–92, 300–302
technology and, 7, 47, 150–55, 187, 187, 201, 229–36, 245, 262, 264
Veracruz period of, 213–45
visual and literary intersections within, 2–3, 6, 21, 24–30, 39–44, 89–92, 124–31, 167–76, 184–91, 210, 215–30, 239–40, 251–52, 266. See also Actual No. 1 (Maples Arce)
Universal Ilustrado (journal)
specific figures, journals, and works
“estridentista beauty” (cartoon), 139
“Estridentista Movement in 1922” (Maples Arce). See “El movimiento estridentista en 1922” (Maples Arce)
“The Estridentista Smile” (Vela), 158–59
Estridentópolis (photograph), 264
ethnicity: European modernism and, 59–60
Mexican identities and, 51, 56–72, 102–9, 115, 160–62, 288–89, 314n24
muralism and, 67–81, 104, 116–24. See also folk art; Mexico; nationalism; primitivism
Eurocentrism: modernism and, 1, 3, 17, 30–35, 60–61, 77, 86, 131, 161, 192, 205, 304, 310n60
primitivism and, 40–41, 59, 66, 76–77, 86, 88, 160–62, 170–76, 192, 194, 290–92. See also avant-garde; cosmopolitanism; France; modernity; Paris
Europe: avant-garde movements in, 21–22, 26, 70
Mexican artists and, 31–35, 52–53, 70–71, 81–86, 119–20, 131, 161, 258, 260–62, 289–91
Renaissance of, 74, 83, 85, 120. See also specific countries and figures
Excelsior (newspaper), 289–90
Exhibition of Popular Arts, 164
Expressionism, 37, 75, 169, 191
Fabian, Johannes, 75–76
The Factory (Leal), 170, 170, 171, 190
Factory (Tamayo), 215, 216
La falange (journal), 285
Falcón, Romana, 210
Fantin-Latour, Henri, 34
Fauconnet, Guy-Pierre, 34
The Feast of the Lord of Chalma (Leal), 48–49, 52, 72–87, 75–76, 80, 105, 115, 176, 193
Fell, Claude, 315n56
Fernández Ledesma, Gabriel: ¡30–30! and, 266, 270–71, 274, 279, 296–97, 300–302, 332n32
editorial work of, 167, 215, 220, 265
Escultura y talla directa, 274–76, 275
Estridentismo role of, 2, 252–53
folk art and, 164
Industrial Lanscape, 171
New York, 171, 171
Sandino, 299
Fernando Leal Painting (Díaz de León), 63
Fifth ¡30–30! Manifesto, 293, 301
Le Figaro (newspaper), 32
“Figures of Authority, Ciphers of Regression” (Buchloh), 44
The Firing Squad (Méndez), 220
First ¡30–30! Manifesto, 280–82, 281
First National Futurist Exhibition, 32
Flores Magón, Ricardo, 214
Folgarait, Leonard, 49–50, 61, 70–71
folk art, 160–84, 182, 184–89, 191–95, 204, 268–69, 276, 299
Fontainas, André, 274, 276
“Forjadura” (J. L. Borges), 142
Forjanda patria (Gamio), 51, 134–35, 165
Forma (journal), 167, 232, 237, 265, 272, 274, 296, 331n1
Foucault, Michel, 3
France, 42, 46, 59–60, 151–52, 158, 169–70, 180, 191, 276, 289, 291
France, Anatole, 215
frescoes, 62, 73, 84–87, 112–21, 122–23, 139, 302. See also specific artists and works Frías, José, 24–25, 30–31
Fried, Michael, 279
Fruit Vendor (Alva de la Canal), 253
Fry, Roger, 279
Futurism, 1, 17–22, 27, 29–32, 37, 40, 71, 74, 125, 253, 288
Gabara, Esther, 313n1, 328n47
Galerie Bernheim-Jeune, 268
Galindo y Villa, Jesús, 23–24
Gallardo, Salvador, 140–42, 155, 197–98, 206–7, 209, 246, 250, 256, 323n85
Gallo, Rubén, 239, 278, 310n70, 329n62
Gamio, Manuel, 51, 116–17, 133–35, 165
Garavito, Humberto, 164
García, Carlos, 310n52
García, Gerardo, 243
García, Soledad, 210
García Cahêro, Emilio, 72
García Lorca, Federico, 215
García Maroto, Gabriel, 290
Garfias, Pedro, 142
La gata de Santa Anita (Charlot), 173
Gauguin, Paul, 168–69, 175, 291
gender: avant-garde movements and, 4, 37, 92, 96
Estridentismo and, 112, 114, 121, 139, 147, 152–53, 178, 180–84, 202, 203–4, 204, 221, 246–49, 253–54
Mexican culture and, 115–16, 221
George, Henry, 215
Germán List Arzubide at the Tribune (Méndez), 227, 227, 227–28
Germany, 142–43, 169, 191, 289
globalism: Estridentismo and, 1–2, 13, 30–35, 47, 158
modernism and, 3–5, 48, 152, 160, 303–6. See also avant-garde; cosmopolitanism; Estridentismo; modernity; technology
“Glosses of the Moment” (Vela), 149
Gómez Robelo, Ricardo, 126
González, Carlos, 219–20, 220
González, Xavier, 200, 251
González Martínez, Enrique, 26, 148
González Peña, Carlos, 137–38
González Rojo, Enrique, 285
Gorostiza, José, 285
“El grabado de madera en México” (Vera de Córdoba), 172
Grecia (journal), 35, 92
Greenberg, Clement, 279, 286
Gruening, Ernest, 167
Grünewald, Matthias, 31
Grupo de Pintores ¡30–30!. See ¡30–30!; treintatrentistas
The Guerilla (Rivera), 68
Guerrero, Xavier, 68, 118
Hamill, Pete, 72
Head of Indian (Leal), 175
Hegel, G. W. F., 40
Helm, McKinley, 76
Herrán, Saturnino, 77–78, 78–79, 270
Hidalgo, Miguel, 27, 156, 316n75
historiography, 4–7, 49–50, 266
homophobia, 152, 284–85, 300
Horizonte (journal), 6, 131, 205–10, 214–30, 240–45, 251, 267–68
Horta, Manuel, 194
Huasteca, 210–12
Huerta, Victoriano, 211, 315n48
Huidobro, Vicente, 142
Icaza, Xavier, 9, 11, 13, 256–64, 331n140
Idols behind Altars (Brenner), 74, 81
Impressionism, 34, 40–41, 53–55, 59, 63, 67, 101–2, 175
La Indianilla (Tamayo), 166
Indian of the Tunas (Leal), 59–60, 60, 65, 67
Indian with Red Serape (Leal), 57, 58, 173
Indian Women on Market Day (Díaz de León), 270–71, 271
El indio que enflaqueció de amor (Leal), 173
Industrial Lanscape (Fernández Ledesma), 171
infrarrealismo (movement), 5–6
In My Bed (Díaz de León), 56
instantaneity (aesthetics of), 84, 125, 135–36, 161, 205
International Centenary Exposition, 271
Irradiador (journal), 6, 13, 89, 124, 124–31, 129, 131, 135, 152–54, 181–82, 189, 200
“Is There a Literary Renaissance in Mexico?” (Vela), 147
Italy, 17, 22, 27, 30, 70, 83, 85, 152
Izquierdo, María, 302
Jaar, Alfredo, 269
Jahl, Wladyslaw, 35
Japan, 191, 194
Jara, Heriberto, 14, 206–14, 230, 240–45, 263–64, 266
Jean, René, 284
Jiménez, Luz, 61, 65
journalism, 2, 89, 131–55. See also specific articles, journalists, journals, and newspapers
Juárez, Benito, 59
Júbilo. See Castillo, Guillermo
Kahlo, Frida, 2, 201–2, 203, 203, 204, 204, 205, 300, 302, 327n116
Kester, Grant, 279–80, 286
Klich, Lynda, 109, 326n77
Knight, Alan, 22
Koth, Karl, 213, 243, 264
Kuhn, Walt, 142
Kyn Taniya. See Quintanilla, Luis
labor (in revolutionary movements), 125–31, 163, 185–89, 213–16, 229–30, 274–79. See also art; Communism; Mexico; socialism; Veracruz
Labor 2 (Modotti), 232, 234, 234
Lasso de la Vega, Rafael, 27, 142, 322n18
Latour, Bruno, 87–88
Lavanderas (Charlot), 121, 123
Lawrence, D. H., 105
Lazo, Agustín, 291
Leal, Fernando: ¡30–30! and, 106, 265, 279–80, 296–97, 300
Academy of San Carlos and, 50, 53, 55, 272–74, 300
aesthetics of, 50
El amigo de la parranda, 175
Campamento de un coronel zapatista, 61, 62, 63, 65, 67, 72, 78
collaborations of, 72–88, 91, 112, 156, 173, 175, 189–91, 194
The Collective Model, 272, 273, 276–78
Coyoacán work of, 56–62, 267
Dance of the Crescent Moon, 176
Dance of the Little Deer, 177
Dancers, 176
Estridentismo role of, 2, 198
The Factory, 170, 170, 171, 190
The Feast of the Lord of Chalma, 48–49, 52, 72–81, 73, 75–76, 80, 83, 85, 87, 105, 115, 173, 176, 193
Indian of the Tunas, 59–60, 60, 65, 67
Indian with Red Serape, 57, 58, 173
El indio que enflaqueció de amor, 173;
“La Madre Academia,” 272
Metropolis, 190, 190
Movimiento estridentista and, 251
murals of, 13, 52, 84, 103–4, 110, 118–19, 285–86, 302
Portrait of Germán List Arzubide, 157
Portrait of Manuel Maples Arce, 61, 61
Leblanc, Oscar, 137
Lecturas clásicas para niños (book), 271
Leighten, Patricia, 160
Leonardo da Vinci, 74
“El león” (song), 162–63. See also corridos
Le Sidaner, Henri, 34
Lhote, André, 34
Liga de Escritores y Artistas Revolucionarios (LEAR), 267, 302
Líneas de alta tensión (Revueltas), 109, 109
Li Po and Other Poems (Tablada), 27
Lira, Miguel N., 155, 203
List, Eric, 240
List Arzubide, Germán: aesthetic views of, 14, 89–92, 195–96
Cueto’s mask and, 152, 158
editorial work of, 6, 155–59, 178, 207, 230–34, 237–45, 264, 309n37
Esquina, 140, 180, 180, 185
interviews with, 5, 24–25, 230–31
Movimiento estridentista, 14, 35, 200, 206–7, 210, 245–52
Mueran los gachupines, 158
socialism of, 213–14, 247–53
Viajero en el vértice, 207, 248–49, 253–54, 254, 256
literature: art criticism as, 89–92
avant-garde approaches to, 4–6, 124–31, 134–35, 139–43
formal aspects of, 27–30, 48, 92–97, 157, 226, 229–30, 318n13
lyrical poetry and, 1, 25–26, 96, 310n63, 311n99
Vela’s aesthetic and, 147–48. See also corridos
Maples Arce, Manuel
specific journals, movements, and writers López, Rafael, 152, 155
López, Rick, 164–65
Lowe, Sarah M., 232, 234
Lozano-Hemmer, Rafael, 7, 8, 9, 10, 11, 34
Lunacharsky, Anatoly, 215
Luz with Parrot (Charlot), 64, 65
lyricism, 1, 25–26, 96, 310n63, 311n99
El Machete, 265, 331n1
Madero, Francisco, 21, 211–13, 315n48
“La Madre Academia” (Leal), 272
Magnavoz (Icaza), 9, 11, 12, 256
Malespine, Émile, 131
Mallarmé, Stéphane, 191
Mallón, Florencia, 79
Manet, Édouard, 17, 34, 59–60, 63, 79
manifestos, 14, 20–35, 39–44, 155–56, 252–64, 280–89, 281, 293, 294, 301. See also Actual No. 1 (Maples Arce);
First ¡30–30! Manifesto; specific documents and groups Manifiesto estridentista, 155–56, 203
Manifiesto estridentista número 3, 207, 209
Manifiesto ultraísta vertical (Torre), 35–36, 37–39
Mannerism, 169
Manomètre (journal), 140
Man with Cigarette (Trinidad) (Charlot), 65, 66
Maples Arce, Manuel: ¡30–30! and, 300–301
Actual No. 1 and, 1, 17, 18–19, 25, 27, 31, 39–44, 124, 153, 215, 260, 266, 303–4
Actual No. 2 and, 6, 92
aesthetic of, 7, 24–30, 32–33, 37, 61, 61, 79, 84, 89–102, 104–5, 108, 108, 109, 109, 111–12, 124–38, 142–43, 147–48, 153–57, 160–62, 180, 187–91, 205, 288
Andamios interiores, 93–94, 93–97, 107–8, 147, 155, 246, 249
art criticism of, 89–92, 318n3;
“A veces, con la tarde,” 95
collaborations of, 22–23, 48, 89–90, 92–102, 111, 118–24, 131, 177–78, 179, 268, 318n1, 330n92
critical receptions of, 46–47, 132–33;
“Diego Rivera, Painter,” 90
“Diorama estridentista,” 139, 140–41, 142, 142
“Esas rosas eléctricas,” 97
Estridentismo’s founding and, 3, 135, 155–59, 310n52
folk art and, 162–63
formal innovations and, 27–30
global aspirations of, 22, 25, 30–35, 42, 51, 330n92
interviews of, 5–6, 31, 133, 200
Irradiador and, 124–31
literature of, 13, 46, 93–97, 107, 126, 132–47, 155, 158, 177, 184–89, 207, 227, 227, 246–49, 318n8
Movimiento estridentista and, 245–46;
“El movimiento estridentista en 1922,” 133, 318n14
nationalism and, 41, 156
Poemas interdictos, 227, 227
political career of, 14, 197, 205–10, 213–14, 240–45, 252, 256, 264, 302, 309n37
portraits of, 61, 61, 94, 208, 227–28, 228
“Revolución,” 247
socialism and, 184–89, 212–13, 280–81;
“T. S. H.”, 126, 145, 146
technological modernity of, 7–9, 95–96, 111–12, 133, 142, 147, 187, 187, 264;
“Todo en un plano oblicuo,” 96
urban emphasis of, 60, 97–102, 124–25, 135, 142, 196–97;
“Young Painters of Mexico,” 90, 111
Marinetti, Filippo Tommaso, 6, 27, 31–33, 152
Marín Loya, Luis, 132
Market Woman (Charlot), 181–82, 182
Maroff, Tristán, 300–301
Martí, José, 45
Martin, Henri, 34
Marx, Karl, 32
masks, 14, 105, 121, 152, 191–95, 201, 276, 320n47. See also Cueto, Germán; ethnicity; folk art
Massacre at the Templo Mayor (Charlot), 48–49, 81, 81–86, 82–83, 87, 105, 115
Mavo, 191
Maximilian I, 59
Mayakovsky, Vladimir, 279
Mella, Julio Antonio, 230, 238–40
Mella’s Typewriter (Modotti), 237. See also Dactilográfica (Modotti)
Mena, Luis Felipe, 246
Méndez, Leopoldo, 2, 131, 197–207, 215, 220–29, 224–29, 246–47, 251, 268, 302
Mercer, Kobena, 52
Mérida, Carlos, 68
Método de dibujo (Best Maugard), 165
Metropolis (Dos Passos), 184–91, 190
Metropolis (Leal), 190
Mexican Folkways (journal), 167, 265
mexicanismo. See Charlot, Jean; nationalism The Mexican Mural Renaissance (Charlot), 83, 112, 115, 313n14
Mexico: academic art in, 1–2, 21–27, 92, 270–79, 283–99, 302
avant-garde’s place within, 1–3, 13, 35–47, 79, 91, 116–24
conquest of, 110–16, 158, 210–11, 262–63, 316n75
cosmopolitanism of, 17–20, 167, 215, 303–6
ethnic identities in, 51, 67–87, 104, 116–24, 171, 288–89, 314n24
Eurocentric views of, 3, 17, 30–35, 260–62
folk art in, 160–76, 191–95, 268
gender in, 92, 96, 112–16, 221
independence of, 27, 59–60, 62, 158
indigenous peoples of, 40, 116–24, 126, 160–67, 268–69, 272, 273, 279
modernity and, 21–24, 34, 48, 70–71, 81–88, 116–24, 177, 260
muralism in, 1, 9, 102–9, 116–24, 134, 166, 313n1, 313n7
nationalism in, 3, 44–47, 49–50, 52–56, 67–81, 86–88, 102–9, 158, 162–67, 257, 270–79, 314n23
official responses to avant-garde movements of, 2, 24–27, 52–56, 72–87
oil industry and, 117, 212–13, 234–37
patronage in, 51, 67–72, 102, 116–17, 134, 293
Renaissance of, 1, 55–56, 83, 85–86
Revolution(s) of, 1, 9, 13, 21–24, 48–49, 54–55, 80, 87–88, 110–11, 117, 133–34, 157, 203, 205, 210–13, 218, 218, 220, 237–45, 247, 257, 267, 285–300, 314n30
rural nature of, 97–102, 118, 131, 148, 160–67, 197, 219, 220, 238
socialism in, 3, 116–31, 134, 161–62, 184–91, 200–205, 213, 240–47. See also avant-garde; Eurocentrism; modernity; muralism; urban centers
specific artists, cities, politicians, and writers
Mexico, an Interpretation (Beals), 325n31
Mexico City: after the Revolution, 21–24
class concerns in, 27–28
cosmopolitanism of, 89–92, 136, 136, 137, 162, 304–5
Estridentismo’s apex and, 14, 156, 177, 197–206, 246, 251, 265
rural areas’ relation to, 97–102, 206–10. See also cosmopolitanism; Maples Arce, Manuel; technology
Michoacán, 164, 302
Mignolo, Walter, 7, 84, 88
Mineros (Rivera), 129, 182
Miomandre, Francis de, 290
Mistral, Gabriela, 152
Mitchell, Timothy, 304
modernity: avant-garde movements and, 17–21, 34, 74, 143, 214, 303–6
definitions of, 2–3
Estridentismo and, 39–44, 106–9, 177–84
Eurocentrism of, 1, 3, 59–61, 67, 77, 131, 205, 304, 310n60
global sweep of, 48, 152, 160, 191, 264, 303–6
historicity and, 84–85
lyrical poetry and, 1, 25–26, 96, 310n63, 311n99
Mexico’s relation to, 21–24, 40–44, 56–67, 81–88, 160–62, 177, 256–64
neoclassicism and, 29, 31–35, 40–45, 83, 114
Open-Air Painting Schools and, 52–56
primitivism and, 66, 160–67, 290–92
technology and, 1, 7, 9, 116, 131, 201, 230–36, 239, 303
urban centers and, 1, 143–44, 166, 196–97, 253–54, 296–97
Vela on, 148–55. See also art; avant-garde; cosmopolitanism; Mexico; primitivism; technology
Modotti, Tina: Conquistas de la Revolución, 237, 237, 238
Dactilográfica, 237–39, 238
Estridentismo role of, 2, 156, 265
Labor 2, 232, 234, 234, 235
Portrait of Germán List Arzubide, 157
Portrait of Salvador Novo, 285, 286
Tank No. 1, 232, 233
Telegraph Wires, 215–17, 217
Untitled, 232
Workers, Mexico City, 231, 236
Workers’ March, 220–21, 221, 223, 229–30
Workers (Modotti), 231
Zócalo, 23
Molina Enríquez, Renato, 70, 86–87, 105–6, 278–79, 300–301
Mondjalow, E. D., 34
Monsiváis, Carlos, 6
Montenegro, Roberto, 115, 164, 271, 332n32
Monterde García Icazbalceta, Francisco, 137
Montero, Marco A., 238
Morelos, José María, 302
Moro, César, 251
Mother and Child (Charlot), 181
“El movimiento estridentista en 1922” (Maples Arce), 133, 318n14
Movimiento estridentista (List Arzubide), 14, 200, 207, 245–52, 250, 256
Mueran los gachupines (List Azurbide), 158
“Muestrario de mujeres” (Vela), 253, 254
Mujeres libres (organization), 92
Munch, Edvard, 168–69
Muñoz Orozco, Alfonso, 142
muralism: cosmopolitan modernism and, 52–56
Estridentista artists and, 102–24, 188–89, 326n77
ethnic identities and, 51, 72–81, 112–16, 166
historiography and, 49–50
Mexican aesthetic and, 1, 9, 13, 110–16, 265, 313n7
nationalism and, 1, 48, 50–52, 133–34, 286, 314n30
patronage and, 51, 67–72, 102–9, 116–17, 134, 293
revolutionary project of, 48, 106–9, 314n30
social concerns and, 116–24, 278–79. See also specific artists and works
Murillo, Gerardo. See Dr. Atl Museo Nacional de Arqueología, Historia y Etnografía, 270–71
Museo Nacional de Arte, 6
Nación (Revueltas), 130
nationalism: ¡30–30! and, 270–79
avant-garde theories and, 14, 49–52, 72–88, 158, 285–92
Estridentismo and, 57, 72–81, 158–59, 257
Futurism’s relation to, 33–34
Maples Arce and, 41, 156
muralism movement and, 1, 48–52, 118–24, 134, 313n1, 313n7
primitivism and, 40–41, 160–62
traditional crafts and, 14, 160–67. See also cosmopolitanism; Mexico; muralism; Vasconcelos, José
National Preparatory School (ENP).
See ENP (Escuela Nacional Preparatoria) neoclassicism, 29, 31–35, 40, 44–45, 70, 83, 114
Neptune Enchained (Leal), 302
“New Section” (Vela), 149
New York of 1925 (Fernández Ledesma), 171, 171
New York Times, 177
New York World, 145
Nicaragua, 26
Noriega Hope, Carlos, 2, 132, 148–49, 154, 197–98, 246, 250
Norte (journal), 237–38, 240, 264
Novo, Salvador, 92, 285–86, 286, 287–89, 300, 334n78
“Nuestra América” (Martí), 45
Oaxaca, 70, 164
Obregón, Alvaro, 22, 51, 55, 185, 214, 243, 293
O’Gorman, Edmundo, 29–30
O’Higgins, Pablo, 300
Oiticica, Hélio, 269
Old Woman, Santa Anita (Charlot), 174
Olea, Héctor, 45
Oles, James, 327n116
Olin, Nahui, 138
Open-Air Painting Schools: ¡30–30! and, 266–69
anti-academic pedagogies and, 270–79, 283, 285–303, 324n27
Estridentista artists and, 56–67, 72, 102–9
folk art and, 170–71
images of, 57
nationalistic impulses and, 52–56, 265
Novo’s critique of, 285–89. See also Academy of San Carlos; Coyoacán (painting school); Ramos Martínez, Alfredo specific artists and works
Orozco, José Clemente: Academy of San Carlos and, 50, 54, 293
editorial work of, 134
exalted status of, 3, 49, 265, 285–86, 289
Rivera and, 71, 220, 279
Orozco, María M. de, 142
Orozco Muñoz, Francisco, 95
Orozco Romero, Carlos, 142
Ortega y Gasset, José, 32, 98–99, 104, 197, 245, 286
Ortiz de Montellano, Bernardo, 285
Our Gods (Herrán), 77–78, 78–79
Owen, Gilberto, 285
Pach, Walter, 296
Pacheco, Máximo, 106–9, 220
Padilla, Ezequiel, 300
painting. See art; Estridentismo; muralism; Open-Air Painting Schools specific movements, painters, schools, and works
Panchito Chapopote (Icaza), 256–62, 297
Pani, Mario J., 68
Pappe, Silvia, 46
Paris, 13, 46, 68, 161, 256, 260, 268, 291, 304–5, 330n92
Pascal, Blaise, 3
Paz, Octavio, 291
Peasant and Worker against Capitalism (Méndez), 226
Peasant (Revueltas), 109, 109
Pellicer, Carlos, 285
PEN club, 138
penny broadsheets, 167–68, 175, 309n50
Peón del Valle, José, 137
Pérez Mendoza, Efraín, 106
Perloff, Marjorie, 20, 22, 28, 32
phallic imagery, 29, 37–38, 153, 156
Picabia, Francis, 34
Picaseño, Lino, 170
Picasso, Pablo, 67, 75, 192, 289
Pino Suárez, José María, 211
El Pípila (Alva de Canal), 218, 218, 219
The Planting of the Cross in the New World (Alva de la Canal), 110, 110–16, 113
Playground (Jaar), 269
plein air painting, 53, 55, 283–84
Poe, Edgar Allan, 214–15
Poemas interdictos (Maples Arce), 227, 227
Poggioli, Renato, 44
politics. See avant-garde; Communism; Mexico; social change; Vera cruz specific countries and politicians
Ponce, Manuel M., 297
Porter, Katherine Anne, 167
Portes Gil, Emilio, 300
Portrait of Esperanza Crespo (Ángel), 166, 166
Portrait of Germán List Arzubide (G. Cueto), 191–92, 192
Portrait of Germán List Arzubide (Leal), 157
Portrait of Germán List Arzubide (Modotti), 157
Portrait of Gertrude Stein (Picasso), 192
Portrait of Kyn Taniya (G. Cueto), 193, 193
Portrait of Leopoldo Méndez (G. Cueto), 193, 194
Portrait of Manuel Maples Arce (Charlot), 194, 194
Portrait of Manuel Maples Arce (Méndez), 227–28, 228
Portrait of Manuel Maples Arce (Ruiz), 94
Portrait of Miguel N. Lira (Kahlo), 203
Portrait of Salvador Novo (Modotti), 285, 286
Portrait of W. Kennedy (Siqueiros), 42, 43, 140, 142
Port (Revueltas), 101, 102
Posada, José Guadalupe, 168, 170, 175
Pratt, Mary-Louise, 160
pre-Columbian cultures: Estridentista artists and, 57, 73–87
folk art and, 163–67, 181–95
muralism and, 40–41, 45, 48, 116. See also ethnicity; folk art; modernity; nationalism;
primitivism primitivism: Estridentista artists and, 66, 73–81, 86, 290
Mexican nationalism and, 40–41, 56–59, 67–88, 165, 268–69, 290, 304
modernism and, 160–62, 192, 194, 290–91, 304
printmaking, 167–89. See also wood-block prints; specific artists and works
Proa (journal), 97
Proal, Herón, 213
La prose du Transsibérien (Cendras), 37
“Protest of the Revolutionary Artists of Mexico “(document), 293
Psychological Portrait of Manuel Maples Arce (Charlot), 178, 179
Puebla, 155–56, 158, 164, 178, 206, 271
Puig Casauranc, José Manuel, 267
Puvis de Chavannes, Pierre, 34
Pythagoreanism, 69–72
Quetzalcoatl Rosicrucian Brotherhood, 70
“Quinta Avenida” (Tablada), 143–44
Quintanilla, Luis, 127, 193, 206–7, 246, 256
Radio (Kyn Taniya), 127
Radio Station for Estridentópolis (Alva de la Canal), 252
radiotelephony, 48, 152, 194, 321n88
Rag. Tintas de abanico (Maples Arce), 318n8
Rama, Ángel, 24
Ramírez, Mari Carmen, 20, 40, 44, 308n12, 312n146, 336n6
Ramírez de Aguilar, Fernando, 298
Ramos Martínez, Alfredo, 53–55, 62–63, 90, 266–70, 284, 290, 315n56, 334n101
rappel à l’ordre aesthetics, 31, 40, 44–45, 70, 83, 114
Rashkin, Elissa, 133, 331n140
Rayuela (Cortázar), 5
realism, 76–77
real visceralismo (movement), 5–7
religions, 59, 81–82, 104, 112, 114, 241–45
Restaurant (Revueltas), 126
Revista de Revistas (journal), 21, 24, 31–32, 285
“Revolución” (Maples Arce), 247
Revueltas, Fermín: ¡30–30! and, 265–69, 280, 289–90, 296, 302
Academy of San Carlos and, 50, 56, 72
After the Rain, 98, 98, 99–100
alcoholism of, 320n58
Allegory of the Virgin of Guadalupe, 13, 102–9, 103, 112, 114
Andamios exteriores, 107–8, 108, 116
Café de 5 centavos, 126, 128
Café de Nadie exhibition and, 200–205
collaborations of, 89–92, 97–102, 112, 115–16, 124–31, 206
Conservadores conservados, 282, 282, 297
editorial work of, 13, 124–31
Estridentismo role of, 2, 198, 253
Movimiento estridentista and, 251
murals of, 13–14, 52, 73, 102–10, 117, 118–19, 166, 285–86
Nación, 130
Port, 101, 102
Restaurant, 126
Subestación, 100, 102
The Tree, 99, 100
Workers’ Wake, 297, 299
Reyes, Salvador, 140
Reyes Palma, Francisco, 109, 308n15
Rivas, Humberto, 131, 144, 314n38
Rivas Mercado, Antonieta, 152
Rivera, Diego: cosmopolitanism of, 13, 52, 67, 206
Creation, 48, 52, 67–72, 69, 73, 103–5, 114–15, 118, 139, 286, 320n47
Estridentismo associations of, 2, 30, 73, 103–4, 121, 126–27, 129–30, 139, 195, 198, 246, 256–57, 265
exalted status of, 3, 11, 49, 84–85, 87, 105, 285–86, 300
folk art and, 167, 217
The Guerilla (Zapatista Landscape), 68
Maples Arce on, 90–91
Mineros, 129, 182
murals of, 13, 62, 83, 103, 118–19, 220, 279, 282, 316n97, 317n117, 336n142
nationalism and, 52, 276, 284
political activism of, 106
Siqueiros and, 39
Tejedores, 118–19, 119, 121
theory of, 45–46
Trapiche, 120, 120, 121
Rivera, Roberto, 220
Rodríguez Lozano, Manuel, 166, 215, 302, 324n27
Rooftops of Xalapa (Méndez), 223
Rooster (G. Cueto), 249
The Round House (Fernández Ledesma), 215
Rousseau, Henri “Le Douanier,” 291
Ruiz, Guillermo, 89, 93–94, 94, 95–97, 99, 131, 251, 267, 274, 302
Russia, 17, 21–22, 185, 304–5
Sáenz, Moisés, 214
Sala, Rafael, 167, 200–201, 251
Sala de Arte, 302
Salvat Papasseit, Joan, 27
Sánchez Saornil, Lucía, 92
Sandino (Fernández Ledesma), 299
The Savage Detectives (Bolaño), 4–7
Schneider, Luis Mario, 31, 157–58, 256, 307n1, 308n1, 323n98
Science de la peinture (Vibert), 73
sculpture and sculptors, 94, 116–17, 274, 282, 282. See also specific artists and works
Self-Portrait with Pancho Villa and La Adelita (Kahlo), 202, 203–4, 204, 205, 327n116
El sembrador (Alva de la Canal), 235, 236
La señorita Etcétera (Vela), 149, 152, 197, 207
SEP (Secretaría de Educación Pública), 118–21, 129, 168, 265–67, 286–87, 295, 300–302, 324n27, 336n141
Ser (journal), 6, 155, 178, 178, 246
Severini, Gino, 253
sexism, 4, 37, 152–53. See also Estridentismo; gender
Sholette, Gregory, 278
Shop Window (González), 219, 220
“Short Circuit” (Gallardo), 142
Silenter (journal), 26
“Silhouettes and Things That Happen” (Vela), 149, 151
Silva y Aceves, Mariano, 300–301
simultaneity (aesthetics of), 84, 125, 135–36, 205
Siqueiros, David Alfaro: Burial of the Slain Worker, 320n47
cosmopolitanism of, 52
The Elements, 116
exalted status of, 3, 49, 297
Open-Air Painting Schools and, 54
political activism of, 106–7
Portrait of W. Kennedy, 42, 43, 140, 142
Rivera and, 71–72, 278;
“Tres llamamientos” and, 39–42, 44–46, 303, 308n15
social change: art and, 2–3, 14, 33, 54–55, 87, 104, 116–24, 147–48, 215–16, 285–92, 313n7, 314n30
avant-garde theory and, 20, 161–62, 300–306
Estridentismo and, 116–31, 182, 184–91, 200–205, 210–45, 247, 256–62
Maples Arce’s view of, 133–34
Veracruz’s labor movements and, 14, 210–13
socialism, 32, 157, 184, 213, 217, 230, 237–38, 256, 265, 302. See also Communism
Social Realism, 1, 226–27, 227, 230, 253, 276, 302
Solís, Refugio, 230, 234
Soviet Union, 21, 237–38. See also Futurism; Russia
Spain, 35, 42–46, 81–86, 92, 110–16, 191, 200, 210, 218, 218, 289, 316n75
Spivak, Gayatri, 80
The Station (Méndez), 225, 225
Stimson, Blake, 278
Strike (Méndez), 229, 229
Der Sturm (journal), 142–43, 296
Subestación (Revueltas), 100, 100–102
Surrealism, 20, 152, 305
“Switch” (List Arzubide), 245, 247
Symbolism, 78
Syndicate of Revolutionary Painters, Sculptors, and Engravers of Mexico, 106, 265
Synthesism, 168
“T. S. H.” (Maples Arce), 126, 145, 146
Tablada, José Juan, 2, 26–27, 97, 127, 143–47, 162–63, 207, 250
Taller de Gráfica Popular (TGP), 267, 302
Tamayo, Rufino, 166, 215–16, 216, 217, 291–92, 300, 302
Tank No. 1 (Modotti), 232, 233
tapestries, 195–96
Tapices D.V.C (L. Cueto), 195
Tatlin, Vladimir, 249
Teatro mexicano del murciélago (play), 193–94
“The Technical State of French Painting” (article), 34
technology: ambivalent nature of, 11, 177–84
art’s use of, 8, 10, 11, 100, 100–102, 108, 108, 109, 109, 111–12, 187
Maples Arce and, 7, 95–96, 111–12, 132–33, 142
modernism and, 1, 7, 9, 21–24, 47–48, 116, 118–20, 144–47, 152, 201, 230–36, 239, 245, 262, 303
Veracruz and, 210–11. See also Estridentismo; folk art
Tejeda, Adalberto, 212–13, 242–43
Tejedores (Rivera), 118–19, 119, 121
Telegraph Wires (Méndez), 224
Telegraph Wires (Modotti), 215–17, 217, 230
Tenorio Trillo, Mauricio, 51
textile production. See Cueto, Lola; Weston, Edward Third ¡30–30! Manifesto, 293, 294
Three Fish-Gourds (Weston), 195, 196
Tibol, Raquel, 267
Tilghman, Hugo, 250
Time and the Other (Fabian), 75
“Todo en un plano oblicuo” (Maples Arce), 96
Tolstoy, Leo, 214–15
Toor, Frances, 167
Torre, Guillermo de, 25, 27, 31, 35, 36, 37–39, 310n52
Torres Bodet, Jaime, 132, 285
Torres-García, Joaquín, 9, 256, 296
Torri, Julio, 126–27
Toussaint, Manuel, 300, 336n141
traditional crafts. See folk art
“Tradition and the Individual Talent” (Eliot), 288
“Trajectory” (document), 293–300
Trapiche (Rivera), 120, 120, 121
The Tree (Revueltas), 99, 100
treintatrentistas, 2, 6–7, 14–15, 264–300
“Tres llamamientos de orientación actual a los pintores y escultores de la nueva generación americana” (Siqueiros), 39–40, 42, 44–46, 303, 308n15
Tres Ollas de Oaxaca (Weston), 218–19, 219
Trinidad (Charlot), 171
Trope, Paula, 269
Trotsky, Leon, 239
Two Mothers (Charlot), 178, 178, 181
typography, 27, 35, 93–97, 126, 129, 129, 191, 214, 232, 238
Tzara, Tristan, 6, 34
Ugarte, Enrique, 297
Ugarte, Manuel, 215
Ulises (journal), 285
ULTRA (Cansinos-Asséns), 35
Ultraísmo, 25, 27, 30, 35–39, 97, 191, 323n98
United States, 42, 161, 189, 243, 261, 304–5
El Universal, 300
Universal Ilustrado (journal), 21, 31–34, 92–93, 132–57, 194–98, 205–7, 245–46, 285
Universidad Veracruzana, 241
Unruh, Vicky, 20, 28, 30
Untitled (L. Cueto), 195, 196
Untitled (Modotti), 232
urban centers: ¡30–30! and, 272–74
folk art’s resurgence and, 160–62
Maples Arce and, 51–52, 124–25, 135
Mexico’s contradictions and, 97–102, 131, 148, 160–62
modernism and, 1, 14, 51–52, 143–44, 148, 152, 166, 219, 220, 227–30, 245, 253–54, 296–97
Urbe (Maples Arce), 158, 177, 184–89, 242, 249
Vando Villar, Isaac del, 92
Van Gogh, Vincent, 25, 59, 291
La Vanguardia (journal), 134
Vasconcelos, José: Estridentista artists and, 102, 106–9
Estudios indostánicos, 316n99
folk art and, 165
Maples Arce on, 133–34
nationalistic projects of, 50–52, 55, 67–68, 70, 72–81, 104, 118, 152, 267, 269, 271, 285–86, 288, 313n12
rural Mexico and, 206–10, 287
Vaughan, Mary Kay, 22
Vauxcelles, Louis, 274, 276
Vectorial Elevation (Lozano-Hemmer), 7, 8
Vela, Arqueles: aesthetics of, 14;
“El café de nadie,” 197, 200, 210
cosmopolitanism of, 2, 206
Estridentismo’s inclusiveness and, 131, 135, 155–59, 194, 205
humor and, 158–59
interviews with, 5
Maples Arce and, 89–92
Movimiento estridentista and, 245, 250;
“Muestrario de mujeres,” 253, 254
Señorita Etcétera, 149, 152, 197, 207
timidity of, 147–49, 156
works of, 147–55, 151
Velasco, José María, 55
Velázquez, Diego, 63
Veracruz, 14, 55, 206–13, 215, 240–45, 257
Veracruz Port (Alva de la Canal), 263
Vera de Córdova, Rafael, 172, 173, 175, 267–68, 284, 289–90, 295
Verlaine (poet), 151, 260–61
El viajero en el vértice (List Arzubide), 207, 248–49, 253–54, 256
Vibert, Jehan Georges, 73
VIDA-AMERICANA (magazine), 39, 39, 42
Villa, Francisco (Pancho), 21, 55, 211–12
Villaurrutia, Xavier, 284–85, 289, 291, 300
Vincit (journal), 155
Virgin of Guadalupe (saint), 62, 316n75
Voladores (Méndez), 229, 229, 230
Voz Alta (Lozano-Hemmer), 9, 10, 11
Walden, Herwarth, 142–43, 296
Walker, Juan Carlos, 238
Wall, Catherine E., 25
War of Independence (Mexican), 27
Way of the Cross (Charlot), 170
Westheim, Paul, 169
Weston, Edward, 2, 131, 167, 195, 200–201, 215, 218–19, 219
Widdifield, Stacie, 59
Williams, Raymond, 27
Wilson, Henry Lane, 211
Wilson, Woodrow, 29
Wolfe, Bertram, 71
Woman with Chrysanthemums (Degas), 59
women. See Estridentismo; gender; Kahlo, Frida; Modotti, Tina; sexism
Wood, Andrew Grant, 243
woodblock prints, 35, 126, 142–43, 156, 161, 167–91, 220, 225, 256, 271–75, 282. See also specific artists and works
Workers, Mexico City (Modotti), 231, 236
Workers’ March (Modotti), 220–21, 221, 223, 229–30
Workers (Modotti), 230, 231
Workers’ Wake (Revueltas), 297, 299
World War I, 28–29, 37–40, 45, 70, 169
The Wounded Soldier (Fernández Ledesma), 220
Wright, Gwendolyn, 304
Xalapa, 14, 116, 189, 205–10, 214–40, 230
Xalapa Street (Méndez), 224
“The Young Painters of Mexico” (Maples Arce), 90, 111
Yúdice, George, 3
Zamora, Francisco, 138, 152, 154
Zapata, Emiliano, 21, 54–55, 61–62, 211–12
Zapatista Landscape (Rivera), 68
Zapatistas (Alva de la Canal), 220–21, 221
Zapatistas at Rest (Leal). See Campamento de un coronel zapatista (Leal)
Zaragoza, Ignacio, 158
Zárraga, Ángel, 214, 289
Zegrí, Armando, 251
Zervos, Christian, 284
Zócalo (Modotti), 23
Zurián, Carla, 116
Index