Mexican Wholesale

Templo Mayor - Visiting Mexico City is an exciting proposition, one that promises the traveler many opportunities for adventure. A grand metropolis with one of the world’s largest populations, the city is an international destination for many travelers. Today, Mexico City offers the visitor the chance to explore one of the most extraordinary archaeological discoveries of the 20th century.

Located in the heart of the city, the Templo Mayor Museum and ruins are a must-see when visiting Mexico. In 1978, a worker digging a city construction project near a downtown cathedral hit something big and hard with his shovel. The object in question was a 500 year old stone sculpture depicting an ancient Aztec goddess. This huge stone sculpture was no ordinary find. An incredible work of art depicting the moon goddess Coyolxauqui, this sculpture was the tip of the proverbial iceberg.

Archaeologists were immediately summoned to the site and what was determined next was nothing short of incredible. The scientific community conceded that this magnificent sculpture provided evidence that what lay hidden underneath the streets of modern day Mexico City, was in fact, the ruins of the ancient Aztec capital of Tenochtitlan. More astounding yet, the ruins appeared to be those of the capital’s great pyramid, the Templo Mayor.

It has long been known by historians that the Spanish conquistadors, upon seizing control of Tenochtitlan in 1521, destroyed the Aztec city in order to establish their own. Temples were torn down and priceless artworks decimated. Spaniards built atop the structures they had razed, thereby erasing any vestiges of the once great city of Tenochtitlan. These ancient ruins and their mysteries, which are still unfolding, may have forever remained submerged underneath tons of rock and concrete, had it not been for that city worker in 1978.

Mexico was initially hesitant to destroy historic colonial buildings that lay atop these ancient ruins. Nonetheless, the decision was made to do just that. The legend surrounding the founding of Tenochtitlan is one that still lingers in the collective consciousness of Mexico today. Indeed, the country’s flag represents this legend graphically. An eagle is depicted, perched upon a cactus, devouring a snake. This was the sign that the ancient Aztecs sought in determining where to build their temple. According to legend, the Aztecs did encounter such an omen and the construction of Tenochtitlan and its great pyramid, the Templo Mayor soon commenced.

Construction on the temple began in 1390. When it was completed in 1487, in order to commemorate the event, thousands of people were sacrificed over a 4-day period. The temple stood 200 feet tall with dual shrines atop its precipice. One shrine, dedicated to Huitzilopochtli (god of war and sun) stood adjacent to the shrine dedicated to Tlaloc (god of rain and fertility).

Today, when visiting the site, some artifacts remain “in situ”, giving the visitor the opportunity of seeing the objects in their original setting. However, the site’s museum houses the majority of artifacts excavated thus far, approximately 6,000 objects.

Excavations are ongoing with one currently in progress that promises great rewards. Archaeologists believe they have uncovered nearby the tomb of Emperor Ahuizotl, the ruler of the Aztecs when Columbus landed in the New World and uncle to Montezuma. This would be an extraordinary discovery. To date, a royal burial chamber of an Aztec ruler has yet to be located, mainly due to the customary way in which the Spanish built over existing structures. The invaluable information that would be gleaned from such a discovery would be outstanding and perhaps, even monumental.

Resources: Mexonline.com

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Margot van Voorhies–The Art of Mexican Enamelwork the latest title from Schiffer Publishing, is a lavish art book that showcases the work of one amazing and prolific jewelry designer. Van Voorhies created a jewelry company, Margot de Taxco, in Taxco Mexico in 1947 producing a stunning amount of intricate and now highly collectible pieces in silver with semiprecious stones and brilliantly colored enamel.

Her story isn’t just one of a designer but as a woman of the early 20th century, finding her way as both an entrepreneur and an artist. She was, in many ways ahead of her time, living as an independent woman and making choices that were outside societal norms. In 1937, after the murder of her mother and a divorce, she moved from San Francisco to Mexico. She had previously worked as a cosmetologist but found new work in a photography shop and in 1938 she married Antonio Castillio (who was 20 years her junior) and moved to Taxco. Castillo was a silversmith working for William Spratling and after the marriage, Castillo and his new bride established their own workshop. Influenced by the Mayan aesthetic as well as other regional imagery, van Voorhies created silver jewelry sets that quickly drew attention and business. In 1947, Margot created her own business, Margot de Taxco, where she continued to innovate in silver and champlevé. It was under this new label that she envisioned some of her most elaborate and memorable designs.

At this point the story becomes not only Margot’s but also that of the maestro silversmiths she worked with. The author, Dr. Penny Morrill has developed a history of modern Mexican silver through her research, writings, and teaching at George Mason University. She has established the Spratling-Taxco Collection at Tulane University’s Latin American Library to further the study of Mexico’s silver tradition and innovation and she adeptly navigates the complicated business history of van Voorhies and surrounding businesspeople and artists. Sadly, the story of the Margot de Taxco line does not end well. After a strike by workers in 1974, the business went deeper and deeper into debt and in 1977 Margot went into bankruptcy. Everything was auctioned off. Many of the dies for her designs in silver or enamel were bought by silversmiths Manuel Quinto, Meliccio Rodriquez and Benjamin Santarriaga. Reproduction Margot de Taxco pieces can be found online today. The last chapter of the book highlights contemporary Mexican enamelists, the artistic heirs of the Margot de Taxco legacy. 

The book serves both as a biography and an art book. It’s a well-researched jewelry history but also contains 485 brilliant photographs and includes an appendix that features the drawings for many of the Margot de Taxco designs. The book sells for $49.99 and can be purchased through the publisher atwww.schifferbooks.com as well as at your local bookseller or through online retailers.

Resource: Luxist.com by Deidre Woollard

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Rufino Tamayo, a Oaxacan painter of international renown, was one of the great modern artists of the 20th century. Tamayo died in 1991 at the age of 91 and had a long and esteemed career. His artwork can be found in important collections worldwide. During his life he was the recipient of many prestigious awards, including France’s Legion d’Honneur.
Tamayo was a prolific artist who was a master of many mediums, including oil, watercolor and lithography. The artist, in addition to producing works on paper and canvas, was also a muralist whose work adorns the walls of museums, universities and libraries throughout the world. Additionally, Tamayo pioneered a new print-making technique known as mixografia with several of his works produced in this medium. This innovative process allows a traditional lithographic print to be created in relief which produces fine surface detail as well as volume. In his later years, Tamayo added sculpture to his artistic repertoire, utilizing his own paintings as a source of inspiration for subject matter.

Rufino Tamayo was a contemporary of fellow Mexican artists Diego Rivera, Jose Clemente Orozco and David Alfaro Siqueiros. Unlike these muralists, however, whose work held strong political commentary, Tamayo eschewed this path and forged his own. The subject matter found in his work is apolitical and purposefully so.

Although his work is embedded with distinctly Mexican roots, both in color and in subject, Tamayo’s art is ultimately a response to universal and not temporal matters. Tamayo’s lack of enthusiasm for political commentary was not appreciated by Rivera, Orozco and Siqueiros who firmly prescribed that important art had to address the societal injustices of the day. Finding his work criticized in Mexico, Tamayo left the country to live for extended periods in both the United States and France. This decision proved beneficial for Tamayo who created many of his important works abroad.

Born in Oaxaca to parents of Zapotecan Indian ancestry, Tamayo’s cultural heritage is evident in his artwork. Orphaned at a young age, Tamayo was sent to live with his aunt in Mexico City. The young artist worked as a vendor at his aunt’s fruit stand, helping her sell produce. The bright and beautiful colors of the tropical fruit has been credited as influencing the artist’s future palette. This experience also provided the catalyst for a favorite motif of Tamayo’s, namely the watermelon, which is depicted in many of his works. As a young man, Tamayo attended the Escuela Nacional de Bellas Artes, San Carlos, in Mexico City but left before graduating to pursue his studies independently.

After leaving school, Tamayo accepted a position at the Mexican Archaeological Museum. This proved to be a pivotal turning-point for the artist. At this museum, Tamayo was responsible for copying copious amounts of pre-Columbian artifacts by hand. This activity enormously influenced his future work. Through this process, Tamayo became intimately acquainted with the artwork of his ancestors which in turn, greatly shaped his artistic vision and expression. Additionally, Tamayo was also inspired by European modern art movements, especially the work of the Cubists and also that of the Surrealists.

Throughout his life, Tamayo and his wife amassed a wonderful collection of pre-Columbian treasures which today reside in the Museo Rufino Tamayo Art Museum, located in his home state of Oaxaca. Additionally, works of Tamayo and other modern masters, can be found in the Tamayo Contemporary Art Museum in Mexico City. This collection, which Tamayo and his wife orchestrated, was generously donated by the couple to the people of Mexico.

	Watermelows

	Rufino Tamayo

	Tres Personajes

Recently, an amazing story unfolded concerning one of Tamayo’s famous works. The painting, entitled Tres Personajes went on a mysterious adventure after being sold for $55,000 to a patron in the 1970′s. During a move in the 1980′s, the piece disappeared from a storage locker. It was not seen again until 2003 when it was spotted in an alleyway in New York. The large brightly colored canvas was placed outside with the trash, placed between two large dumpsters. A woman, who was on her morning walk came across the painting. Initially, she was reluctant to bring the painting back to her small apartment due to its size. However, there was something about the painting that spoke to her. The woman fortunately listened to her intuition and it was a good thing she did. The painting recently sold for over $1,000,000 at auction. The woman enjoyed a reward of $15,000 from the painting’s owner plus a finder’s fee from the auction house.

Considering the quality and mastery of Tamayo’s paintings, it is easy to understand why the woman was compelled to retrieve the painting from its incongruent surroundings. Tamayo’s paintings actually glow from within. The artist had a command of color that was sublime and his subject matter transcends individual commentary. Perhaps the following quote from Octavio Paz, the Mexican poet and Nobel laureate, sums up the work of Rufino Tamayo best- “If I could express with a single word what it is that distinguishes Tamayo from other painters, I would say, without a moment’s hesitation: sun. For the sun is in all his pictures, whether we see it or not: night itself is for Tamayo simply a sun carbonized”.

Resources: Mexonline.com

Posted on February 7, 2011 by AetnaJo B.

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San Augustin Church

Colonial Durango — Victoria de Durango, Durango — staged many of Mexico’s most important historical events. Historic figures, including Guadalupe Victoria, Francisco Gómez Palacio, José María Patoni, José Ceballos, Domingo Arrieta León, Francisco “Pancho” Villa, and Francisco Castillo Nájera carried out their duties within and among the city’s colonial buildings. Many of the city’s important architectural gems, some dating back to the 16th century, still stand today; they provide a colonial backdrop for Durango’s strolling residents and tourists alike.

The Lesser Basilica Cathedral
(Catedral Basílica Menor)

La Catedral Basílica Menor has symbolized colonized Durango longer than any other historic Durangan landmark. The Lesser Basilica Cathedral, better known, simply, as La Catedral is located on Calle 20 de Noviembre in front of the Plaza de Armas (Arms Plaza), between the streets, Juárez and Constitución in the very center of Durango’s historic downtown area. It originally materialized as La Antigua Parroquia de la Asunción —The Ancient Parish of the Assumption — named in honor of the Christian belief that the Virgin Mary was transported to heaven with her body and soul united. The parish earned the title of “cathedral” around 1620, when it quartered the Bishop of Durango, but a fire destroyed it. The church was once again built, and once again destroyed when problems with dampness plagued the building.

In 1695, Bishop García Legazpi ordered the initiation of a new project, designed by Architect, Mateo Nuñez. About a decade and a half later, the principal structure that today towers over of the Plaza de Armas was finished. In 1840, Bishop Zubiría ordered major remodeling of the building but conserved its extreme baroque style.

The cathedral represents one of the most important examples of extreme Churrigueresque architectural style in northern Mexico. Elaborate and extravagant decoration and intricate details — especially in surface ornamentation — characterize Churrigueresque architecture. This style came about at the end of the Spanish Renaissance. Its namesake, Spanish architect José Benito Churriguera (1665-1725) was, along with his descendents, principally responsible for its development. One may observe the Churrigueresque style in the front and side entrances of the cathedral.

Sculptures of Saint Peter (San Pedro) and Saint Paul (San Pablo) and exquisitely detailed sculptures of vegetation and other details adorn the Cathedral’s exterior. Within enormous painted domes, arches and carved wood furniture entertain the eye during mass.

Mural in the Ricardo Castro Library

Visitors can enjoy the Cathedral both at night and during the day. Natural daylight favors observation of the interior’s stained glass windows and painted domes, and the exterior is splendidly illuminated at night. One may also observe the cathedral as a prominent landmark on the Durangan landscape from the Cerro de los Remedios.

In addition, the cathedral hosts the legendary shadow of “the nun” (la monja) who eternally awaits the return of her love. One may see the shadow of the nun from sidewalk on Constitución street.

Administration Building of the Juarez University of the State of Durango
(Edificio Central de la Universidad Juárez del Estado de Durango)

Many of northern Mexico’s historic intellects, politicians, and clergy were educated within the classrooms of today’s Administration Building of the Juarez University of the State of Durango. During much of the 20th century, it housed one of the most important educational entities in northern New Spain’s New Vizcaya Province, approximately equivalent to what are, today, Chihuahua and Durango.

The building’s main access, located on Calle Constitución between the streets 5 de Febrero and Pino Suárez, is nestled in a quarry stone patio alongside the Temple of Our Lady of San Juan de los Lagos (Templo de Nuestra Señora de San Juan de los Lagos), which shares a long history with the present university building. A sketch of its detailed façade appears to date on university letterheads and logos.

The university building’s history as an educational site dates as far back as the 16th century when Señora Eufrasia Vázquez de Cubia, the property owner, and Jesuits began to teach children from the Durangan village . In 1596, Fathers Francisco Gutiérrez, Gerónimo Ramírez and, possibly, Juan Agustín de Espinoza, Pedro de la Serna, and brothers, Juan de la Carrera and Vicente Beltrán became the new occupants of the property.

In 1856, Don José de la Bárcena founded the Civil College of the State (Colegio Civil del Estado), which moved into the building in 1860. Following the death of Benito Juárez, the Governor, responding to a request from students and teachers of the college, renamed it Instituto Juárez (Juarez Institute). With its incorporation into the University of Mexico (Universidad de México) in 1938, it adopted the slogan “Por mi raza hablará el espíritu,” a modified version of a phrase authored by Don José Vasconcelos. In the original phrase, Vasconcelos referred to the voice of the spirit that emanates from one’s roots, an important concept in Mexico’s mestizo culture.

Elevated in 1957 to the status of university, he institute received its present name — Universidad Juárez del Estado de Durango, and the building, to date, serves as the university’s principal administrative center. The main structure centers around a palm-shaded garden. Some of the interior spaces such as the President’s conference room and the Laureano Roncal auditorium are furnished with pompous, carved wood furniture.

House of the Count of the Suchil Valley
(Casa del Conde del Valle de Súchil)

One of Durango’s most beautifully decorated colonial buildings is the House of the Count of the Suchil Valley, location today’s Banamex Bank, on the corner of Calle 5 de Febrero and Francisco I. Madero. It was originally a home owned by wealthy miner and landowner Joseph del Campo Soberón y Larrea, Count of the Valley of Súchil. In 1763 and 1764, Pedro de Huertas designed its beautifully sculpted baroque fascia and interior. Sculptures include intricate vegetation, shells, ribbons, flowers, fruits, and an image of Saint Joseph and the Christ child. Arches in the interior patio and decorated pillars surround the bank’s main floor, where clients now wait to carry out bank transactions.

Churrigueresque style church adorned with Quarry stone sculptures

Cathedral in Plaza de Armas in Durango, Mexico

Ricardo Castro Theater
(Teatro Ricardo Castro)

At the end of the 19th century, the Compañía Constructora y Explotadora del Teatro de Durango was formed with the objective of constructing a playhouse. The company lived until the beginning of the 20th century, when the first stone was laid and thereafter dissolved, leaving the building in the hands of the state government. The building fell into the private sector and became a movie theater, known as the Cine Principal.

Grandeur marks the neoclassic theater’s entrance, with massive stairs leading up to arched entranceways and, eventually, to crystal-windowed wood doors guarded by iron gargoyles. A statue of the theater’s namesake, Mexican concert pianist and the last romantic composer of the Porfirio Díaz era, stands on the corner of the Avenue 20 de Noviembre and Bruno Martínez Street. Above the entranceway, generously sculptured arches framing wood and crystal doors overlook the avenue.

Inside, in the reception area, before an event, one may observe Durango’s culture lovers in conversation, standing on marble floors beneath white arches or in front of a large wood carving, illustrating the city of Durango. The reception provides a serious introduction to the enormous audience seating area within the velvet curtain-covered entrance. Within the seating area, enormous, rather erotic paintings depicting the exploitation of the Cerro del Mercado (Market Hill) above the Colonial City of Durango frame, along with enormous white pillars, the stage where performers entertain Durangan audiences.

In 1991, the theater was donated by the President of the Mexican Republic as patrimony of the Durangan people, and has since hosted cultural events for large Durango audiences.

Victoria Theater
(Teatro Victoria)

Some may consider the Victoria Theater a bit modest to be considered among Durango’s top architectural gems, but its quaint, simple elegance and relatively small, tiered seating make it a cozy setting for medium-sized theatrical, musical, and other cultural events. It really deserves a visit.

Located next to the Governor’s Palace on Calle Bruno Martínez, the theater was originally called the Zambrano Coliseum and Theater (Coliseo y Teatro de Zambrano). Juan José Zambrano, a wealthy miner, alderman, and mayor in Durango, ordered the construction of the theater as an addition to the Governor’s Palace, for his personal use. The building was inaugurated in 1800 and rebuilt or remodeled between 1909 and 1910 in celebration of the 100th anniversary of national Independence, hence, its new name, Teatro Victoria, to honor Guadalupe Victoria, Mexico’s first president. In 1980, it was again remodeled by order of Dr. Héctor Mayagoitia, the state’s Governor, at the time, with the goal of promoting the development of the arts in the state.

The building’s facade is modestly colonial, as is the tastefully designed reception area. The theater’s attractiveness lies within. A horseshoe of several tears of balconies, each directly above the previous, surrounds main floor seating, and nearly all of the seats provide a right-up-close look at performing artists. Wooden banisters and lots of textiles make the theater acoustically comfortable, and low, but adequate lighting provides a marvelous setting for one to contemplate more than a century of cultural events as one awaits the third call. Visitors to the City of Durango should definitely check the theater’s schedule to see if there’s an interesting event there while in Durango.

Regional Museum of Durango
(El Museo Regional de Durango)

Locals know the Regional Museum of Durango on the corner of streets, Victoria and Aquiles Serdán as “El Aguacate,” (The Avocado), in reference to a tree in the museum’s garden. Built during the second half of the 19th century, it was home of Francisco Gómez Palacio, ex-governor of the state. The structure has served as a pay station for revolutionary troops, the civil register court, the municipal president’s office, the headquarters of the Supreme Court of Justice, as a schoolhouse and as a public library. The museum opened as part of the Universidad Juárez del Estado de Durango (see above) in 1989, and it displays important elements of the state’s history.

Stanislao Sloneck designed the building to reflect French influence and constructive style, which were popular at the time of its construction. Like many buildings of the period, it is built principally of quarry stone. However, the interior is pleasantly decorated with wood finish, giving it warmth uncommon in many of the region’s colonial structures.

Saint Augustine Temple
(Templo de San Agustín)

Born as a simple prayer area, the Saint Augustine Temple, along with its plaza, has grown into one of Durango’s most visually pleasing architectural gems. Its construction began in the beginning of the 17th century with its foundation by Fray Gonzalo de Hermosillo. Its initial construction took nearly a decade and a half, and remodeling and additions were still in process during the 19th century when master mason Benigno Montoya added a Neogothic façade, including simple decorations on the columns and religious figures.

Governor’s Palace
(Palacio de Gobierno)

Juan José Zambrano (see above) ordered the construction of the Governor’s Palace at the end of the 18th century. It is located on Calle 5 de Febrero in front of the Plaza Cuarto Centenario, between Bruno Martínez and Zaragosa streets. The building was occupied by the governor once Mexican Independence was established, and it is the site of today’s state governor’s offices.

The two-story structure is of quarry stone and the entrance way and interior are adorned by arches on stone columns. In the building’s interior, one finds mural paintings of historic events in Durango history painted by Francisco Montoya de la Cruz (1950) and Ernesto Flores Esquivel (1981). The upper story features a balcony from which the state governor participates, each year, in the Shout for Independence celebration. President Benito Juárez resided in the Governor’s Palace upon his return from the Paso del Norte (the Northern Pass, which is today’s Ciudad Juárez, Chihuahua). Juárez is commemorated by a sculpture within the building, as well as by a large sculpture in the plaza in front of the palace.

Governors Palace in Durango Mexico

San Augustin Church

Governor’s House
(Casa de Gobierno)

Built in the 19th century and containing remnants of construction dating back to the 18th Century, the Casa de Gobierno currently houses state executive offices. It was home to governors at one time. It is located on Calle Bruno Martínez between Coronado and Aquiles Serdán. The building features attractive quarry stone and abundant hallways among gardens. Aside from its function as an office building, it hosts numerous meetings and events in its conference room.

Municipal Palace
(Palacio Municipal)

Located on 20 de Noviembre Avenue and Victoria Street, the Municipal Palace is a neoclassical style building built in 1898 as the private residence of Pedro Escárzaga, a wealthy Durangan miner. Inside, a mural by Francisco Montoya de la Cruz depicts historic moments in Durango’s history, including the conquest of Nueva Vizcaya, discovery of the Market Hill (Cerro del Mercado), the Revolution, and the Independence movement. The building has served as the Durango Town Hall (Ayuntamiento de Durango) since 1930.

The Train Station
(Estación de Ferrocarriles)

On Octubre 16, 1892, the first train arrived at the Durango Train Station, located on Felipe Pescador Avenue at the head of Calle Bruno Martínez. Architect Manuel Ortiz Monasterio built the station in 1920, but one of the structures in the train yard dates back to 1893. Outside the station, Durango’s last steam engine, number 900, has been conserved, and gardens in front of the station make it an attractive site for visitors.

I have mentioned only a portion of Durango’s interesting and important colonial treasures. Architecture fans can see many more colonial gems just by strolling the streets in Durango’s historic downtown area. In addition, many of the downtown buildings have been recently remodeled or restored to colonial style, and much of the downtown area has restored quarry stone sidewalks. The municipality has also invested in ground-level and structural illumination that make many of the landmark buildings outstanding sights in the evening.

More information on colonial buildings in Durango and other tourist attractions is available in Spanish, within web pages from Mexico Desconocido (http://www.mexicodesconocido.com.mx/notas/7908-Durango,-Durango), the Instituto Nacional de Información Estadística y Geográfica (http://mapserver.inegi.gob.mx/geografia/espanol/estados/dgo/dgo-it.cfm?c=590&e=10&CFID=2610500&CFTOKEN=49566404#arqrel), and in the Municipality of Durango’s photo gallery (http://www.unidosporti.gob.mx/galeria).

Published or Updated on: November 23, 2009 by Jeffrey R. Bacon  © 2009
Contact Jeffrey R. Bacon.   Pictures by Jeffrey R. Bacon

Re-Published or Updated by Aetna J B on January 30, 2011

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Día de los Muertos - It sounds so mysterious, Mexico’s celebration for when dead relatives, both young and old, are allowed to return to the mortal world for two days to visit loved ones. Spirits coming down and walking among the living, sampling earthly treats and joining in the festival … it sounds like a merry version of our Halloween holiday.

But instead of scarry goblins and blood curdling shrieks, the people in Mexico welcome the spirits of their families with the delicious smell of food in the air, tasty candies decorated like skulls, and lighted candles to guide them home again. Gravestones are decorated, and the whole family will gather in the graveyard to await and pay respects to the deceased.

Follow the links below to learn all about this unique Mexican holiday of Dia de los Muertos. For the truly adventurous there is information on how to arrange tours to the more coloful events in Mexico and to take part in the celebrations.

Skeleton puppets seem to welcome you to the
Day of the Dead celebrations

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Rufino Tamayo, a Oaxacan painter of international renown, was one of the great modern artists of the 20th century. Tamayo died in 1991 at the age of 91 and had a long and esteemed career. His artwork can be found in important collections worldwide. During his life he was the recipient of many prestigious awards, including France’s Legion d’Honneur.

Tamayo was a prolific artist who was a master of many mediums, including oil, watercolor and lithography. The artist, in addition to producing works on paper and canvas, was also a muralist whose work adorns the walls of museums, universities and libraries throughout the world. Additionally, Tamayo pioneered a new print-making technique known as mixografia with several of his works produced in this medium. This innovative process allows a traditional lithographic print to be created in relief which produces fine surface detail as well as volume. In his later years, Tamayo added sculpture to his artistic repertoire, utilizing his own paintings as a source of inspiration for subject matter.

	Watermelows

Rufino Tamayo was a contemporary of fellow Mexican artists Diego Rivera, Jose Clemente Orozco and David Alfaro Siqueiros. Unlike these muralists, however, whose work held strong political commentary, Tamayo eschewed this path and forged his own. The subject matter found in his work is apolitical and purposefully so.

Although his work is embedded with distinctly Mexican roots, both in color and in subject, Tamayo’s art is ultimately a response to universal and not temporal matters. Tamayo’s lack of enthusiasm for political commentary was not appreciated by Rivera, Orozco and Siqueiros who firmly prescribed that important art had to address the societal injustices of the day. Finding his work criticized in Mexico, Tamayo left the country to live for extended periods in both the United States and France. This decision proved beneficial for Tamayo who created many of his important works abroad.

	Rufino Tamayo

Born in Oaxaca to parents of Zapotecan Indian ancestry, Tamayo’s cultural heritage is evident in his artwork. Orphaned at a young age, Tamayo was sent to live with his aunt in Mexico City. The young artist worked as a vendor at his aunt’s fruit stand, helping her sell produce. The bright and beautiful colors of the tropical fruit has been credited as influencing the artist’s future palette. This experience also provided the catalyst for a favorite motif of Tamayo’s, namely the watermelon, which is depicted in many of his works. As a young man, Tamayo attended the Escuela Nacional de Bellas Artes, San Carlos, in Mexico City but left before graduating to pursue his studies independently.

After leaving school, Tamayo accepted a position at the Mexican Archaeological Museum. This proved to be a pivotal turning-point for the artist. At this museum, Tamayo was responsible for copying copious amounts of pre-Columbian artifacts by hand. This activity enormously influenced his future work. Through this process, Tamayo became intimately acquainted with the artwork of his ancestors which in turn, greatly shaped his artistic vision and expression. Additionally, Tamayo was also inspired by European modern art movements, especially the work of the Cubists and also that of the Surrealists.

Throughout his life, Tamayo and his wife amassed a wonderful collection of pre-Columbian treasures which today reside in the Museo Rufino Tamayo Art Museum, located in his home state of Oaxaca. Additionally, works of Tamayo and other modern masters, can be found in the Tamayo Contemporary Art Museum in Mexico City. This collection, which Tamayo and his wife orchestrated, was generously donated by the couple to the people of Mexico.

	Tres Personajes

Recently, an amazing story unfolded concerning one of Tamayo’s famous works. The painting, entitled Tres Personajes went on a mysterious adventure after being sold for $55,000 to a patron in the 1970′s. During a move in the 1980′s, the piece disappeared from a storage locker. It was not seen again until 2003 when it was spotted in an alleyway in New York. The large brightly colored canvas was placed outside with the trash, placed between two large dumpsters. A woman, who was on her morning walk came across the painting. Initially, she was reluctant to bring the painting back to her small apartment due to its size. However, there was something about the painting that spoke to her. The woman fortunately listened to her intuition and it was a good thing she did. The painting recently sold for over $1,000,000 at auction. The woman enjoyed a reward of $15,000 from the painting’s owner plus a finder’s fee from the auction house.

Considering the quality and mastery of Tamayo’s paintings, it is easy to understand why the woman was compelled to retrieve the painting from its incongruent surroundings. Tamayo’s paintings actually glow from within. The artist had a command of color that was sublime and his subject matter transcends individual commentary. Perhaps the following quote from Octavio Paz, the Mexican poet and Nobel laureate, sums up the work of Rufino Tamayo best- “If I could express with a single word what it is that distinguishes Tamayo from other painters, I would say, without a moment’s hesitation: sun. For the sun is in all his pictures, whether we see it or not: night itself is for Tamayo simply a sun carbonized”.

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Rufino Tamayo, a Oaxacan painter of international renown, was one of the great modern artists of the 20th century. Tamayo died in 1991 at the age of 91 and had a long and esteemed career. His artwork can be found in important collections worldwide. During his life he was the recipient of many prestigious awards, including France’s Legion d’Honneur.

Tamayo was a prolific artist who was a master of many mediums, including oil, watercolor and lithography. The artist, in addition to producing works on paper and canvas, was also a muralist whose work adorns the walls of museums, universities and libraries throughout the world. Additionally, Tamayo pioneered a new print-making technique known as mixografia with several of his works produced in this medium. This innovative process allows a traditional lithographic print to be created in relief which produces fine surface detail as well as volume. In his later years, Tamayo added sculpture to his artistic repertoire, utilizing his own paintings as a source of inspiration for subject matter.

	Watermelows

Rufino Tamayo was a contemporary of fellow Mexican artists Diego Rivera, Jose Clemente Orozco and David Alfaro Siqueiros. Unlike these muralists, however, whose work held strong political commentary, Tamayo eschewed this path and forged his own. The subject matter found in his work is apolitical and purposefully so.

Although his work is embedded with distinctly Mexican roots, both in color and in subject, Tamayo’s art is ultimately a response to universal and not temporal matters. Tamayo’s lack of enthusiasm for political commentary was not appreciated by Rivera, Orozco and Siqueiros who firmly prescribed that important art had to address the societal injustices of the day. Finding his work criticized in Mexico, Tamayo left the country to live for extended periods in both the United States and France. This decision proved beneficial for Tamayo who created many of his important works abroad.

	Rufino Tamayo

Born in Oaxaca to parents of Zapotecan Indian ancestry, Tamayo’s cultural heritage is evident in his artwork. Orphaned at a young age, Tamayo was sent to live with his aunt in Mexico City. The young artist worked as a vendor at his aunt’s fruit stand, helping her sell produce. The bright and beautiful colors of the tropical fruit has been credited as influencing the artist’s future palette. This experience also provided the catalyst for a favorite motif of Tamayo’s, namely the watermelon, which is depicted in many of his works. As a young man, Tamayo attended the Escuela Nacional de Bellas Artes, San Carlos, in Mexico City but left before graduating to pursue his studies independently.

After leaving school, Tamayo accepted a position at the Mexican Archaeological Museum. This proved to be a pivotal turning-point for the artist. At this museum, Tamayo was responsible for copying copious amounts of pre-Columbian artifacts by hand. This activity enormously influenced his future work. Through this process, Tamayo became intimately acquainted with the artwork of his ancestors which in turn, greatly shaped his artistic vision and expression. Additionally, Tamayo was also inspired by European modern art movements, especially the work of the Cubists and also that of the Surrealists.

Throughout his life, Tamayo and his wife amassed a wonderful collection of pre-Columbian treasures which today reside in the Museo Rufino Tamayo Art Museum, located in his home state of Oaxaca. Additionally, works of Tamayo and other modern masters, can be found in the Tamayo Contemporary Art Museum in Mexico City. This collection, which Tamayo and his wife orchestrated, was generously donated by the couple to the people of Mexico.

	Tres Personajes

Recently, an amazing story unfolded concerning one of Tamayo’s famous works. The painting, entitled Tres Personajes went on a mysterious adventure after being sold for $55,000 to a patron in the 1970′s. During a move in the 1980′s, the piece disappeared from a storage locker. It was not seen again until 2003 when it was spotted in an alleyway in New York. The large brightly colored canvas was placed outside with the trash, placed between two large dumpsters. A woman, who was on her morning walk came across the painting. Initially, she was reluctant to bring the painting back to her small apartment due to its size. However, there was something about the painting that spoke to her. The woman fortunately listened to her intuition and it was a good thing she did. The painting recently sold for over $1,000,000 at auction. The woman enjoyed a reward of $15,000 from the painting’s owner plus a finder’s fee from the auction house.

Considering the quality and mastery of Tamayo’s paintings, it is easy to understand why the woman was compelled to retrieve the painting from its incongruent surroundings. Tamayo’s paintings actually glow from within. The artist had a command of color that was sublime and his subject matter transcends individual commentary. Perhaps the following quote from Octavio Paz, the Mexican poet and Nobel laureate, sums up the work of Rufino Tamayo best- “If I could express with a single word what it is that distinguishes Tamayo from other painters, I would say, without a moment’s hesitation: sun. For the sun is in all his pictures, whether we see it or not: night itself is for Tamayo simply a sun carbonized”.

Resources: Mexonline.com Re-published or posted by Aetna J h on Augist 23, 2010

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Mexico’s Jose Guadalupe Posada is a very famous yet somewhat forgotten name in Mexico

The artist José Guadalupe Posada was born in 1852 in Aguacalientes, Mexico. Many consider Posada the founder of modern Mexican art. As well, Posada is credited with educating the general populace concerning the political injustices of the day which ultimately culminated in the Mexican Revolution of 1910 His beginnings were humble, being born the seventh son to working-class parents of Indian descent.

Posada is most remembered for his engraved illustrations of calaveras (skeletons) set in political satire. His work remains vital today, oftentimes utilized to commemorate the Dia de los Muertos (Day of the Dead) holiday, celebrated throughout Mexico each year on November 1st and 2nd…

	Posada in front of his taller

Posada’s talent was recognized at an early age. He became an apprentice to the printer and publisher Jose Trinidad Pedroza at the age of 16. It was under his mentor’s tutelage that he learned the art of printmaking which focused on lithography as well as engraving on wood and metal. The shop where he worked, El Esfuerzo, located in the city of Aguascalientes also served as a meeting place where members of the community would discuss political and social issues of the day. This environment that Posada found himself in undoubtedly helped shape his political opinions and ultimately, his art.

Posada’s work drew controversy almost immediately. Pedroza assigned the young artist to engrave a satirical cartoon of a local politician and needless to say, the response from the authorities was not favorable. His caricature was so compelling and created such an uproar that both teacher and student had to flee town to escape the wrath of those offended. Posada’s career had begun.

Soon established in his new city of Leon, Posada’s work began to appear in magazines. Some of these early works were political in nature but not all. Posada’s other avenues of output included making artwork for purely commercial purposes, such as providing illustrations for matchbox covers, designing logos or engraving book cover designs. Posada married and began teaching lithography at a local school. Busy and fulfilled, his life went on uninterrupted until the year 1888, when a traumatic flood occurred in the city and Posada was again forced to relocate.

	Calaveras Bailando

Mexico City became Posada’s new place of residence. He set up his own shop and worked for a variety of publishers on a free-lance basis. The artist forged an important liaison with Antonio Vanegas Arroyo, the leading publisher in the city. Together they created “hojas volantes”(flying leaves) which were one-page papers or broadsheets, distributed on the city streets for a penny a piece. These printed one-page documents covered a whole host of topics, ranging from moral stories to high-society gossip to songs that were illustrated (corridos).

Increasingly, Posada turned to the symbolism of the calavera (skeleton) to depict his illustrations that were filled with political satire. The dictatorship of Porfirio Diaz was in full swing at this time and social injustices were rampant. The decision to utilize skeletons in his illustrations had a two-fold effect. Graphically speaking, these images jump off the page, so to speak and cannot be ignored. As well, the people responded to the symbolism of the calavera as it was a deeply ingrained in their culture and subconscious. After all, the blood of their ancestors still ran in their veins, blood that was indigenous and not European. Many pre-Columbian civilizations decorated temples with skulls and had a deep fascination with death. While perhaps macabre on its surface, the symbolism of the calavera, which is in essence death, was a reminder that physical life is temporal while the spirit is eternal. Additionally, Posada’s intent was to show that in death everyone is equal, despite one’s economic status or position in life, death is the great equalizer that spares no one.

	Hernan Cortes -His First Adventures

Another illustrator that worked in Arroyo’s shop, Manuel Manilla, also utilized the symbolism of the calavera in his engravings. Together with Posada’s prodigious contributions, the amount of calaveras (skeleton illustrations) this group produced was enormous and became very popular with the masses. Although many people were illiterate, they could still “read” what the illustrations were saying, a tribute to their effectiveness. As the often quoted saying goes “…a picture says a thousand words….”.

Posada was extremely prolific with the amount of work he produced in his life. Although the true number of engravings he made cannot be ascertained, some place the number as high as 20,000 works. Of these, it has been reported that an estimated 2,000 engravings have survived.

Undoubtedly, a technique that Posada invented helped him enormously both in production as well as expression. Well acquainted with the traditional printmaking technique of lithography, Posada also worked on wood blocks as well as zinc plates. Interested, however, in increasing his output, his experimentations led him to a new technique. Using acid-resistant ink, he would draw directly onto the metal plate and then place the plate in an acid-solution that quickly embedded the drawing. This plate, in turn, could be placed on the printing press at the same time as the type was placed, thereby saving an enormous amount of time and increasing production.

	The Revolution

Posada’s new technique developed just prior to the Mexican Revolution of 1910. The output dramatically increased at Arroyo’s shop and the one-cent papers were being widely distributed on the streets of Mexico City. Posada’s illustrations have been credited with raising awareness enormously concerning the political injustices and abuses of the day. While he diligently worked from dawn to dusk, Posada was contributing greatly to the work of the revolutionaries who sought justice from the evils of Porfirio Diaz’s dictatorship.

As well, Posada played a pivotal role in the development of Diego Rivera’s work. Rivera was inspired by Posada’s attention to working-class concerns as well as his expressive artistic technique. While attending the San Carlos Academy of Art in Mexico City, Rivera would often stop by to visit Posada and watch him work. Years later, Rivera credited Posada as having been a great influence on his own artwork and direction. One of Rivera’s famous paintings, “Dream of a Sunday Afternoon in Alameda Park” pays a visual homage to Posada. Rivera included the famous skeleton image of the “Catrina” that Posada so often employed, a symbolic representation of a typical society-woman from turn-of-the- century Mexico.

	Diego Rivera, Dream of a Sunday Afternoon

In addition to Rivera, Posada proved an inspiration to Jose Clemente Orozco, who as a boy would visit Posada in his workshop. In his autobiography, Orozco writes, “This was my awakening to the existence of the art of painting. I became one of the most faithful customers in Vanegas Arroyo’s retail shop . . . .” Posada’s influence was so great and he influenced so many that somehow it doesn’t seem right that the artist died in obscurity and poverty. He died quietly in the year 1913, alone and penniless and was buried in a common grave.

Some years later, a French artist by the name of Jean Charlot was collaborating on a mural with Diego Rivera in Mexico City. Charlot, walking the streets of the city, came upon Posada’s work which was still being used to illustrate the daily one-cent papers. Deeply intrigued and interested, Charlot began to feverishly collect Posada’s work. As well, he published an article about Posada that was widely read and admired. Charlot proved instrumental in bringing international awareness to the importance of Posada’s work and his place in history.

Today, Posada’s work is housed in various collections throughout the world. A museum dedicated to the artist is located in Posada’s hometown of Aguascalientes, Mexico. The Museo Jose Guadalupe Posada features prints along with the original metal plates that were used to create them. Although Posada the man is deceased, his work lives on, perhaps the greatest triumph over death there is.

Let me know if you have enjoyed reading about Mexico’s JOSE GUADALUPE POSADA. Until next time, enjoy.

Resources: Mexonline.com Published or republished by Aetna J h on August 15, 2010,

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