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Generación de la Ruptura


Generación de la Ruptura

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Generación de la Ruptura (Rupture Generation) was a reaction of the post World War II generation of Mexican artists against the established Mexican School of Painting, more commonly called Mexican muralism. It began with the criticisms of José Luis Cuevas in the early 1950s, followed by others who thought the established art had become dogmatic, formulaic and nationalistic and the artists too deferential to the government. This new generation of artists was not bound by a particular artistic style but was more interested in personal rather than social issues and influenced by a number of international trends in art such as Abstract expressionism. Early reaction to them was strong and negative but by the end of the 1950s, they had succeeded in having their art shown in the major venues of Mexico. The Generación de la Ruptura had influence on other arts in Mexico, such as literature but it did not end the production of murals in Mexico with social and nationalist purposes.

Mexican muralism as antecedent

From the 1920s to the beginning of the 1950s, the dominant painting style was what it is academically known as the Escuela Mexicana de la Pintura (Mexican School of Painting) also popularly known as "Mexican muralism." Mexican muralism came up to be from the convergence of the ideals of then-Mexico’s painters and the need of a post Mexican Revolution government to promote their ideas.[1][2] The social ideals pursued the glorification of Mexico's mestizo identity.[1] The main representatives of this movement were David Alfaro Siqueiros, José Clemente Orozco and Diego Rivera.[1]

José Luis Cuevas

Cuevas is considered as the leading artist of the "Ruptura" (Breakaway) as he was an early and very outspoken critic of the social-realist aesthetics of the Mexican muralist tradition.[3][4] His main critiques focus on how the "Muralists" depict the Mexican social composition and lifestyle and how much their works were actually influenced by then-government patronage.[4][5] His opposition to the status quo and his aggressive art style caused extreme reactions towards his work and his own person, including violent public outcries to his work, written insults, personal threats and even a machine-gun attack to his home.[4][5] This has earned him the nickname of "il enfant terrible" ("Bad Boy") of Mexican fine arts[6][7]
His antagonistic stances against the Mexican cultural status quo were mainly directed towards the old muralist school. They are exemplified in various published and unplublished documents and by naming the old Muralist movement representatives and their government patrons as the “cactus curtain.” The "Cactus curtain" sole purpose was to put-down new upcoming artists and innovation [8] as he expressed in an unpublished essay in Excélsior newspaper and later in a published public letter “Letter to Siqueiros” written in "Perfumes y Modas" ("Perfume and Fashions") magazine. He later continued his critiques against old Mexican muralist movement with the help of Carlos Fuentes in other media such as the "Museo en la Cultura", a weekly supplement of Novedades de México newspaper.
Throughout this movement, he became friends with a number of other artists such as Fernando Benítez, José Emilio Pacheco, José de la Colina, Carlos Monsiváis who, along with Carlos Fuentes, were later known as “La Maffia” a critique group of Mexico’s then-current culture.
His stand points earned him many adversaries, especially from Leopoldo Méndez and Raúl Anguiano, as well as strong opposition from many people at the Academy of San Carlos.[9]

Rise of the Generación de la Ruptura (Breakaway Generation)

Despite the opposition from established artistic and official circles, the young generation of the post-WWII era continued to challenge the status quo. They named themselves the "Joven Escuela de Pintura Mexicana" (Young School of Mexican Painting) but in the end the name “Generación de la Ruptura” (The Breakaway Generation) stuck.[10] Early exhibitions of their art were mostly ignored by cultural authorities making it difficult for these artists to pursue their art.[11] The Ruptura artists were a diverse group, not not united by a single artistic movement but only by the belief that "muralism" had run its course.[10] The "Ruptura" criticized ols Mexican muralism as being chauvinistic, dogmatic, Manichean, stuck with old formulas, simplistic and being too deferential towards government. For the "Ruptura" artists, muralism had evolved into a nationalistic cult.[12]
Historically, the development of art in Mexico has always been intertwined with Europe since the Spanish conquest of the Aztec Empire. Many of the old muralist school artist had studied and worked in Europe before their careers in Mexico and the same holds true for the many of "Generación de la Ruptura" artists. The latter generation were influenced by the various then-new European movements such as Abstract expressionism and Cubism which rose out of social movements and philosophies of the mid 20th century in Europe and the United States.[11][13] Thus, "Ruptura" artists abandoned nationalism in favor of internationalism and universalism. Manuel Felguérez says that the aim of the "Generación de la Ruptura" was not really to “discard” Mexican art but rather to universalize Mexican art.[11]
However, the Mexican government controlled many venues where art could be promoted and it was directly censured by the ruling Partido Revolucionario Institucional party.[10][14] It's only in the late 1950s into the 1960s when these artists began to exhibit their art at large venues such as the Museo de Arte Moderno and the Palacio de Bellas Artes.[11]
The members of this generation of artists include native-born Mexicans and immigrants, many of which were refugees from World War II. Along with José Luis Cuevas, these include Fernando García Ponce, Roger Von Gunten, Edmundo Aquino, Francisco Toledo, Arturo Rivera, Leonora Carrington, Alberto Gironella, Ricardo Martínez, Arnaldo Coen, Lilia Carrillo, Vlady, Manuel Felguérez, Gilberto Aceves Navarro, Gustavo Arias Murueta, Luis López Loza, Luis Almeida, Peggy Espinosa, Adolfo Falcón, Efraín Herrero, Rafael López Castro, Bernardo Recamier and Pablo Rulfo. Of the foreign born Ruptura painters, the most important was Vicente Rojo from Cataluña who reshaped Mexican graphic arts.[11][13]

Influence of the movement

The movement had influence in other areas such as literature, with authors such as Octavio Paz, Carlos Fuentes, Juan García Ponce and Jorge Ibargüengoitia.[11] Since 1950s, the muralism tradition has waned, but it has not ended. While most mural painting in Mexico still has a certain nationalistic purpose, stylistic elements from the Ruptura have been integrated.[4]

References

  1. ^ a b c John Eugene Kenny (2006). The Chicano Mural movement of the Southwest: Populist public art and Chicano political activism (PhD). University of New Orleans. OCLC 3253092.
  2. ^ Luz Elena Mainero del Castillo (2012). "El muralismo y la Revolución Mexicana" [Muralism asn the Mexican Revolution] (in Spanish). Mexico: Instituto Nacional de Estudios Históricos de las Revoluciones de México. Retrieved June 27, 2012.
  3. ^ Gutiérrez, Laura G. (2010). Performing Mexicanidad : Vendidas y Cabareteras on the Transnational Stage. Austin, TX, USA: University of Texas Press. p. 157. ISBN 978-0-292-72208-8.
  4. ^ a b c d Rodriguez, Juan (September 15, 1995). "Jose Luis Cuevas: un viaje hacia el interior" [Jose Luis Cuevas: a voyage to the interior]. La Opinión (in Spanish) (Los Angeles). p. 8E.
  5. ^ a b "Jose Luis Cuevas". San José State University Digital Art Lobby. Retrieved June 2, 2012.
  6. ^ "Rendirán homenaje al artista plástico José Luis Cuevas" [Will render homage to fine artista José Luis Cuevas]. El Universal (in Spanish) (Mexico City). February 23, 2012. Retrieved June 2, 2012.
  7. ^ "Museo José Luis Cuevas". New York Times. Retrieved June 2, 2012.
  8. ^ Ruiz, Blanca (April 27, 2001). "Travesias/ Jose Luis Cuevas". Reforma (in Spanish) (Mexico City). p. 37.
  9. ^ Cherem S, Silvia (May 28, 2000). "Entrevista/ Jose Luis Cuevas/ El ombligo de Cuevas" [Interview/Jose Luis Cuevas/The navel of Cuevas]. Reforma (in Spanish) (Mexico City). p. 1.
  10. ^ a b c "El Movimiento Muralista Mexicano La Decadencia" [The Mexican Muralist Movement – The Decline] (in Spanish). Mexico City: Artes e Historia magazine. Retrieved October 19, 2012.
  11. ^ a b c d e f "Felguérez dice que su generación no es de ruptura, sino de apertura universal" [Felguérez says that his generation is not of rupture but of universal opening]. El Informador (in Spanish) (Guadalajara). March 8, 2012. Retrieved October 19, 2012.
  12. ^ Grenier, Yvon (2006). "The Politics of Art and Literature in Latin America". Canadian Journal of Latin American & Caribbean Studies 31 (62): 245–258.
  13. ^ a b Roberto García Bonilla. "Arte entre dos continentes" [Art between two continents]. Revista de la Universidad (in Spanish). Mexico City: UNAM. Retrieved October 19, 2012.
  14. ^ Virginia Bautista (March 9, 2012). "La amistad reúne a generación de la Ruptura" [Friendship reunites the Generación de la Ruptura]. Excélsior (in Spanish) (Mexico City). Retrieved October 19, 2012.

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