Frida Kahlo, Still Life: Pitahayas, 1938. Oil on aluminum, 10 x 14 inches / 17 x 20¾ inches (frame). Collection of the Madison Museum of Contemporary Art. Bequest of Rudolph and Louise Langer. © 2013 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York.
Los Grandes del Arte Moderno Mexicano (Masters of Mexican Modern Art) showcases the artists who, more than any others, defined Mexican Modernism in the 1920s and 1930s: Manuel Alvarez Bravo, Frida Kahlo, Leopoldo Méndez, José Clemente Orozco, Diego Rivera, David Siqueiros, and Rufino Tamayo. The paintings, prints, and photographs that comprise the exhibition are drawn from the permanent collection of the Madison Museum of Contemporary Art, which is particularly strong in twentieth-century Mexican art. In presenting Los Grandes del Arte Moderno Mexicano, the museum places these works in a world context for acknowledgment and celebration. The exhibition will be on view in MMoCA’s Henry Street Gallery from June 7, 2013, to June 2014.
Following the Mexican Revolution (1910–1920), modern art enjoyed a vital period of artistic achievement in a newly egalitarian society. Mexico City was the movement’s hub and the city played host to an international gathering of artists. Although their presence created a cosmopolitan exuberance comparable to that generated by the international avant-garde in Paris, it was the Mexican painters, muralists, photographers, poets, and printmakers who dominated the art scene. Modern art in Europe, rejecting the art of the past, was itself a revolutionary model. Mexican artists who wished to depart from the academic tradition of their colonial history enlisted modern art as a vehicle for recognizing and honoring the ideals of the Revolution.
This new artistic movement was nationalistic but tempered by Expressionism and Surrealism, which were among the most important avant-garde directions in Europe. Mexican Modernism was also characterized by a fresh expressivness and enriched by references to indigenous folk art and Pre-Columbian art.
A clear example is Leopoldo Méndez’s El Rebozo de Soledad (The Shawl of Solitude), from 1952, a woodcut by an artist esteemed as the greatest Mexican printmaker of the twentieth century. Méndez’s social agenda was to show compassion for the indigenous peoples of Mexico, but the slashes of white and emotional intensity of this print ally it to the sensibilities of expressionist movements abroad
Generous support for Los Grandes del Arte Moderno Mexicano, and all exhibitions in the Henry Street Gallery of the Madison Museum of Contemporary Art, has been provided by an endowment established by the Pleasant T. Rowland Foundation. Related education programming is made possible through a major grant from the Madison Community Foundation.
Website : MMoCA
Website : Madison
FIC123.BE een website met info en cultuur.
Following the Mexican Revolution (1910–1920), modern art enjoyed a vital period of artistic achievement in a newly egalitarian society. Mexico City was the movement’s hub and the city played host to an international gathering of artists. Although their presence created a cosmopolitan exuberance comparable to that generated by the international avant-garde in Paris, it was the Mexican painters, muralists, photographers, poets, and printmakers who dominated the art scene. Modern art in Europe, rejecting the art of the past, was itself a revolutionary model. Mexican artists who wished to depart from the academic tradition of their colonial history enlisted modern art as a vehicle for recognizing and honoring the ideals of the Revolution.
Similar to modernist movements that arose between World Wars I and II in Germany, the Soviet
Union, and the United States, Mexican artists sought a realist art that championed social reform and national identity.
This new artistic movement was nationalistic but tempered by Expressionism and Surrealism, which were among the most important avant-garde directions in Europe. Mexican Modernism was also characterized by a fresh expressivness and enriched by references to indigenous folk art and Pre-Columbian art.
A clear example is Leopoldo Méndez’s El Rebozo de Soledad (The Shawl of Solitude), from 1952, a woodcut by an artist esteemed as the greatest Mexican printmaker of the twentieth century. Méndez’s social agenda was to show compassion for the indigenous peoples of Mexico, but the slashes of white and emotional intensity of this print ally it to the sensibilities of expressionist movements abroad
Generous support for Los Grandes del Arte Moderno Mexicano, and all exhibitions in the Henry Street Gallery of the Madison Museum of Contemporary Art, has been provided by an endowment established by the Pleasant T. Rowland Foundation. Related education programming is made possible through a major grant from the Madison Community Foundation.
MMoCA 07.06.2013 - 01.06.2014
Website : MMoCA
Website : Madison
FIC123.BE een website met info en cultuur.
