SZTUKA AMERYKI ŁACIŃSKIEJ 2016, NR 6 ISSN 2299–260X

Fanny Rabel: post-revolutionary artist

Maria Cristina Valerdi-Nochebuena, Gerardo Sosa-Valerdi, Aurora Roldan-Olmos, Jorge Sosa-Olive (Faculty of Architecture, Universidad Autónoma de , Puebla, , Faculty of Graphic Design, Universidad Iberoamericana de Puebla, Mexico)

trans. Zofi a Majda

INTRODUCTION

The was a social movement, which has entirely chan- ged the Mexican lifestyle and inspired local artists to look inward in search of their true identity. This turbulent event was provoked not only by the people, i.e. Mexican population together with European immigrants, but also by both World Wars taking place at that time. Fanny Rabinovich, (August 27, 1922 in Poland – November 25, 2008 in ), better known under her artistic alias Rabel, was a daughter of Jewish actors fl eeing from imminent war, who settled in Mexico. Shortly af- ter the Rabinovich family arrived in Mexico in 1938, Fanny started to simul- taneously work and study art at the Nocturnal Art School for Workers. Later, at the Escuela Nacional de Pintura, Escultura y Grabado “La Esmeralda” she was taught by such professors such as: Jose Chavez Morado, Feliciano Peña and Kahlo. Under the tutelage of Frida, Fanny and several of her classmates 140 MARIA CRISTINA VALERDI-NOCHEBUENA ET AL. became known as “los Fridos”, because of the elements from Kahlo’s style visi- ble in their works. Fanny also worked as an assistant and apprentice to the great , and Fernandez Ledesma. was a part of the “Taller de la Grafi ca Popular”, “El Muralis- mo”, and “Frente Nacional de Artes Plásticas”. In these envornments, she had an opportunity to meet personalities such as Siqueiros, O’Gorman, Chavez Mo- rado and Gonzalez Camarena, sharing with them the theories and techniques characteristic for the search of identity in the of transformation.. Participating in life and work of these artists, she discovered the factors which infl uenced the contemporary concept of art in the 20th century Mexico, such as the social context, the search for identity and the humanistic values. The most characteristic element of her post-revolutionary art was the susceptibili- tyto the historic transformations in Mexico. In 1910, México began to fi ght for social equality. At that time, the majo- rity of land in the country was split into large parcels, or latifundios, owned by the few richest landowners, who were exploiting the working class. Intertwined with the Mexican Revolution was a revolution in the Mexican art, especially recognizable in the works of students from the San Carlos Aca- demy. Although the main tendency at the time was to create “art for art’s sake”, the modern, 19th century, Mexican movement called “artistic revolution” was born with nationalistic intentions ‘to build a Mexican identity’. One of the rea- sons behind the creation of the movement was heavy foreign infl uence. oppo- sed by the Mexican artists behind the revolution. This ‘revolutionary’ group included the eminent writer and painter, the crucial fi gure of the artistic revolu- tion, Gerardo Murillo, knows as Dr Atl. The next important movement, which began in the Mexican revolutionary art in 1920s was called Muralismo. The three most famous Mexican muralists, or los tres grandes were Diego Rivera, José Clemente Orozco and David Alfa- ro Siqueiros. The followers of Muralismo created art in public places, with the aim of educating the poor, illiterate populace about Mexican history and cul- ture. Through the depiction of important historical fi gures and events, displa- yed in schools or government buildings, the artists shaped the new, nationalistic identity of the Mexican people. The revolutionary struggle involving , Francisco I. Madero and Emiliano were among the events com- memorated on the , for exemple by Jose Clemente Orozco and Francisco Goitia, whose post-war works refl ected their own experiences from that period. FANNY RABEL: POST-REVOLUTIONARY ARTIST 141

FANNY RABEL, THE ARTIST

The artistic and social context described in the previous section gave rise to the fi gure of Fanny Rabel (known as Rabinovich till 1942), shaping her as a post-revolutionary artist. She was born in Lublin (Poland) in 1922, as a dau- ghter of a Jewish couple and died in Mexico, in 2008. Fearing the possibility of a war, the Rabinovich family escaped Poland in 1931, moved to and fi na- lly fl ed to Mexico in 1938, when Fanny was 14 years old.

[Fig. 1. Los Fridos, Fanny Rabel on the left from , neomexicanismos.tum- blr.com.] 142 MARIA CRISTINA VALERDI-NOCHEBUENA ET AL.

After attending the Nocturnal Art School for Workers for several years, while she was also working to secure her existence, Fanny started studies in drawing and printmaking at La Esmeralda (, Sculpture & Printmaking School) founded in 1942. She took classes with José Chávez Morado, Felicia- no Peña & Frida Kahlo, with whom she established a close relationship. Ra- bel, along with Arturo Estrada, Arturo Garcia Bustos, and Guillermo Monroy, was thefounder of the Taller de Gráfi ca Popular. She was the only woman in the group of Los Fridos, who studied in the Casa Azul with Kahlo. Due to her membership in this group, Fanny Rabel was also known as La Fanny de los Fridos.1 She got married to Jaime Woolrich and had two children: Abel and Palo- ma. For decades, she lived in a studio apartment, located in Martinez de Castro Street in San Miguel neighborhood of Mexico City. Near the end of her life, she suff ered from memory loss. Fanny Rabel died on November 25, 2008, and is buried in the Israelite Cemetery.2 She will always be remembered not only for her contribution to the artis- tic world but also for her sensitivity to the human suff ering and the talent to de- pict it.

EXHIBITIONS

This section discusses some of Fanny Rabel’s exhibitions. The fi rst one took place in 1945 and the last one, called Para participar en lo justo: recupe- rando la obra de Fanny Rabel, in 2009.

Chart 1. Exhibitions of Fanny Rabel, part 1. Year Name of exposition Place City 1945 The and drawings of Popular League of Israel Mexico City Fanny Rabel 1951 The paintings of Fanny Rabel Galería Salón de la Plás- Mexico City tica Mexicana 1955 Retrospective, paintings of Fanny Salón de la Plástica Mexico City Rabel Mexicana (SPM), INBA, SEP 1956 Retrospective. 23 paintings, 12 li- Galerías del Centro De- Mexico City thography’s, 9 graphics of Fanny portivo Israelita Rabel

1 T, 2007. 2 C 2014. FANNY RABEL: POST-REVOLUTIONARY ARTIST 143

Year Name of exposition Place City 1959 The Mexican Children Salón de la Plástica Mexico City Mexicana (SPM), INBA, SEP 1959– Prints, the Israeli tour Ein Harod Art Museum Tour of diff erent –1960 cities in Israel 1960 Paintings exhibition, Fanny Rabel Galería Arte, A.C. Monterrey

1961 Twenty years retrospective Galería José María Vel- Mexico City asco INBA, SEP 1961 Twenty years retrospective of Fan- Galería de la Ciudad de Mexico City ny Rabel (1941–1961) México 1962 The Loneliness Salón de la Plástica Mexico City Mexicana (SPM), INBA, SEP 1964 Drawings Galería de San Carlos Mexico City 1964 Drawings, tints & acrylics of Fan- Escuela Nacional de Ar- Mexico City ny Rabel tes Plásticas (ENAP), UNAM (Universidad Nacional Autónoma de México)

The fi rst exhibition was held at the Popular Leagues of Israel in 1945 and resulted from her classes with José Chávez Morado, Feliciano Peña and Frida Kahlo. At the exposition, she showed twenty-four oil paints, thirteen drawings and eight prints (Montiel, 1997). Kahlo wrote for this event “a loving and ca- ring presentation” published by Raquel Tibol, an art critic, in her article called Algo sobre Fanny Rabel (2007): She paints as she lives, with enormous courage, an acute intelligence and sensitivity, with all the love and joy that her twenty years give her. But what I judge most important in her painting are the deep roots that tie her to the tradition and strength of her people. Her painting is not per- sonal, but social. She is fundamentally concerned with class issues and has observed, with an exceptional maturity, the character and style of her models, always endowing them with vital emotions. All of this without pretensions, and full of the femininity and fi nesse that make her so com- plete.3 José Chávez Morado wrote in the exposition brochure named Fanny Ra- binovich: “Her artworks had highlight for their plastic qualities, the sensibility

3 T 2007. 144 MARIA CRISTINA VALERDI-NOCHEBUENA ET AL. and a delicate, poetic perfume...”4. She was one of the artists from the fi rst ge- neration of Taller de Gráfi ca Popular, together with Leopoldo Méndez and Pa- blo O’Higgins.

Chart 2. Exhibitions of Fanny Rabel, part 2. Year Name of exposition Place City 1966 Las prisiones del hombre Salón de la Plásti- Mexico City ca Mexicana (SPM), INBA, SEP 1966 Fanny Rabel’s recent artworks Las Museo Nacional de Be- La Habana, Cuba prisiones del hombre llas Artes 1968 Recent artworks of Fanny Rabel. Galería Grande de la Mexico City Oils and acrylics Casa del Lago, UNAM 1968 Fanny Rabel. Paintings and draw- Garelick Gallery , Michigan ings USA 1969 Tints of Fanny Rabel Galería Plástica de Méx- Mexico City ico 1970 Recent artworks of Fanny Rabel Galería Mer-Kup Mexico City

1972 Los sociales. Casa de la Cultura de Aguascalientes, Aguascalientes, INBA 1972 Los sociales. Fanny Rabel’s paint- Instituto Potosino de Bel- San Luis de Poto- ings las Artes, INBA sí, SLP 1973 Fanny Rabel’s exposition Instituto Vicente Lombar- Mexico City do Toledano, San Ángel 1974 Clínica de Salud Mental. Mexico City Subdirección de Acción Cultural del ISSTE 1975 Of the Time. 1000 of Fanny Rabel Museo del Palacio de Be- Mexico City llas Artes, INBA, SEP 1976 Fanny Rabel Arte y libros, S.A. Monterrey, Nuevo León State

In September 15, 1976, her solo exhibition at Salón de la Plástica Mexi- cana was inaugurated. It was important for Fanny to include the opinion of Leopoldo Mendez, her friend and maestro, in the exhibition catalogue. When she asked him for this favour, he gave her small pieces of paper with his thou- ghts written on them. Without the authors’ consent, Rabel organised the notes and later reproduced them as a supplementary material for Novedades, México

4 T 2007. FANNY RABEL: POST-REVOLUTIONARY ARTIST 145 en la Cultura. The original slips of paper were incorporated into the texture of the series of paintings that Rabel has dedicated to her friends. In 1979, she had another exposition at Salón de la Plástica Mexicana: Re- quiem por una ciudad. In 1979, Ponce (1979) published a review of it, Pintu- ra hostil de Fanny Rabel, in the Proceso magazine. The exhibition showcased 40 of Rabel’s paintings, the themes of which were related to traffi c, smog and garbage. The exhibited paintings included Dialogo Capitalino, Muerte citadi- na, Los peatones van al cielo. The exhibition was shown also in the Regional Museum of City.5 In 1993, The museum presented her important re- trospective exhibition Fanny Rabel, 50, años de producción artística to com- memorate 50 fruitful years of her work.

Chart. 3 Exhibitions of Fanny Rabel, part 3. Year Name of exposition Place City 1976 People. Paintings of Fanny Rabel Salón de la Plástica Mexico City Mexicana (SPM), INBA, SEP 1978 Children of Fanny Rabel Secretaría de Hacienda y Mexico City Crédito Público 1978 Children Casa de la Paz Mexico City 1979 Requiem For a City (Requiem por Salón de la Plástica Mexico City una ciudad) Mexicana (SPM), INBA, SEP 1980 Museo Regional de Gua- Guanajuato, Requiem For a City (Requiem por najuato, INBA, SEP Guantajuato State una ciudad) 1980 INBA of San Luis de Po- San Luis de Poto- tosí sí, SLP 1981 Fanny Rabel. Works yesterday INBA-FONOBRAS, for- Guadalajara, Ja- and toaday mer Convento del Car- lisco State men 1981 Galería Tierra Adentro 2, Mexico City Fanny Rabel. Work yesterday and DDF-INBA today

1981 Fanny Rabel. Work yesterday and Galería de Arte José Mexico City today Guadalupe Posada, ISS- TE

5 P 1979. 146 MARIA CRISTINA VALERDI-NOCHEBUENA ET AL.

Year Name of exposition Place City Consejo Nacional de Fo- Guadalajara y 1982 Fanny Rabel mento Educativo (CON- Mexico City AFE)

1982 Fanny Rabel. Work yesterday and Puebla, Puebla Galería Universitaria today State

Instituto Michoacano de Morelia, Michoa- 1986 Image and feeling. Fanny Rabel Cultura, Museo de Arte can State Contemporáneo

In a 1993 interview, Garcia Martinez asked Fanny a question: “What does the retrospective exhibition in Bellas Artes museum mean to you?”, to which she replied: The opportunities to see my work, analyse it, criticise it and review the diff erent stages of it. A retrospective is to know where the artist was more authentic. It is interesting to see the trajectory, to see that along the way there are imaginative and obsessives stages. It allows one to see what is really important and what characterizes the artist. 6

[Fig. 2. Fanny Rabel’s brochure; Fanny Rabel, 50 años de producción artística. Perso- nal archive of Paloma Woolrich.]

6 G M 2009: 11. FANNY RABEL: POST-REVOLUTIONARY ARTIST 147

[Fig. 3. Fanny Rabel’s brochure; Fanny Rabel, 50 años de producción artística. Perso- nal archive of Paloma Woolrich.]

[Fig. 4. Fanny Rabel’s brochure; Fanny Rabel, 50 años de producción artística. Perso- nal archive of Paloma Woolrich.] 148 MARIA CRISTINA VALERDI-NOCHEBUENA ET AL.

In March, 2007, Casa de la Primera Imprenta, a cultural centre associa- ted with theUniversidad Autónoma Metropolitana (UAM), presented another important retrospective exhibition La Fanny de los Fridos, on the Festival de Mexico at the Historic Centre. The artworks shown during this exhibition were selected by the architect Elena Segurajauregui, the Visual Arts and Scenic Dean of UAM.7 The artworkds of Fanny Rabel’s form part of several important collections of institutions such as National Library of New York and Washington Congress, Museum (MOMA) of New York, Royal Academy of Denmark, Na- tional Library of Paris, America’s House of La and theModern Art Mu- seum of Mexico.

Chart 4. Exhibitions of Fanny Rabel, part 4. Year Name of exposition Place City 1988 Fanny Rabel’s Artwork and Com- Casa de la Cultura Az- Mexico City mitment capotzalco, DDF-Soci- cultur 1988 Fanny Rabel. Through the Years. Colegio de Bachilleres Mexico City Paintings and graphics from vari- ous epochs 1989 Near and Far from the Theater. Salón de la Plástica Mex- Mexico City Fanny Rabel’s tribute to Julio Cas- icana (SPM), INBA, SEP tillo 1990 The Best of Us. 30 Fanny Rabel’s Museo de la Ciudad de Mexico City graphics and drawings México, DDF-Socicultur 1990 Requiem For a City (Requiem por Galería , Mexico City una ciudad) 1970–1980 DDF, Socicultur 1991 The Sky Is Dying And Other Sto- Jardín Borda. Instituto , Mo- ries. Retrospective de Cultura relos State 1993 Retrospective, 50 years of pain- Sala Nacional, Palacio Mexico City ting de Bellas Artes; (Consejo Nacional para la Cultura y las Artes, [Conaculta]). 1994 Museo de Aguascalientes Aguascalientes, Aguascalientes State 1994 Retrospective Galería Gerson, Centro Mexico City Deportivo Israelita 1995 Fanny Rabel in Art Museum of Art Museum of Sonora Sonora, Sinaloa Sonora Museo de Arte de Sinaloa State 1997 Fanny Rabel Menache Galería de Arte Mexico City

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Year Name of exposition Place City 2007 Casa de la Primera Im- Mexico City La Fanny de los Fridos prenta – UAM 2013 Recovering the Artwork of Fanny Universidad Iberoameri- Mexico City Rabel cana Santa Fe

In 2009, one year after Rabel’s death,the Salón de la Plástica Mexicana opened an exhibition entitled Retrospectiva In Memoriam, Fanny Rabel. It in- cluded 29 artworks made with various techniques, pictures and personal ob- jects. Cecilia Santacruz, the president of the gallery, said that this exhibition shows diff erent stages of Rabel’s work from 1943 to 1998. On the 60th anniversary of the Art Department of Universidad Iberoame- ricana – Santa Fe (UIA), the Andrea Pozzo Gallery, in collaboration with the oranised the event Para participar en lo justo: recuperando la obra de Fanny Rabel. Apart from the art exhibition, the event included seve- ral activities, such as a theater performace, a conference and graphic workshop for children and adults. The exhibition itself was curated by Dina Comisaren- co, Ana Torres and Karen Cordero. It was an important act of recognition and appreciation for female artists who lived and created their art in Mexico. The main purpose of the whole project was to stimulate the discussion about Rabel as an artist and about her work. During the event, materials rescued from Ra- bel’s archivs were displayed. The exhibition featured about 90 artworks, gra- phics, sketches, pictures, posters, personal documents, such as books and writings, as well as documentary videos. Throughout her life, she produced a wide range of artistic work, inclu- ding prints, easel paintings, murals, and scenery designs; she also parti- cipated in numerous collective and individual exhibitions, both in Mexi- co and abroad. Later on, her style evolved from realism to expressionism, demonstrating her outstanding creative capacity and her open-minded spirit, never fearful of experimentation and change.8 The last event recognizing Rabel as a Jewish-Mexican muralist was orga- nized by the Enlace Judío Mexico on November 10, 2013. It took place at the 7th Successful Women Forum carried out in the Salón Mural del Centro Depor- tivo Israelita. 25 Mexican artists participated in a collective exhibition called A propósito de Fanny Rabel. There were conferences, ballet performances and a remarkable speech about Fanny Rabel given by her daughter, Paloma Woor- lich.9 Fanny presented many expositions and expressed her sensibility to social

8 C 2014: 35, 36. 9 A 2013. 150 MARIA CRISTINA VALERDI-NOCHEBUENA ET AL. problems in all of them, from her youth to her fi nal days. She showed the truth- fulness, which isn’t accessible for all the humans. The choice of topics and the use of particular techniques were guided by her “spiritual coherence”.

SOME OF HER ARTWORKS

Tlatelpas (2000) wrote about Rabel “A way of becoming a good painter is learning to see. A musician needs to have a good ear to capture the sounds, a painter must be able to see and to look, she must be able to have a pictorial eye and must be able to understand the fi gure and the color”. Rabel was becoming a muralist while studying with Kahlo and working as Diego Rivera’s assistant. Comisarenco wrote (2012): Rabel’s process of becoming a muralist was indisputably unique. She was able to combine her experiences as an apprentice to David Alfaro Si- queiros, whom she assisted in the Mexican Electricians’ Union (1939– 40); as an assistant to Diego Rivera, with whom she collaborated at the (1945); and the fi rst mural experience with Frida Kahlo, in which she participated between 1943 and 1945. From these two mas- ters of muralism, she learned technical and political aspects that charac- terized the founding movement.10 As stated by Comisarenco, after Rabel’s experiences with the giants of muralism, she did several murals herself. As an individual artist, she worked on Alphabetisation (1952) for the La- bels and Prints company in Coyoacan. She also authored The Survival of a People Due to their Spirit (1957), the work of art that is studied in this text. She painted The Constitution (1960) for the Mexican Revolution Pavilion, A Circle in Time (1964–65) for the National Museum of An- thropology and History, Towards Health (1962) for the Children’s Hospi- tal of Mexico and The Mexican Family (1983–84) for the Public Register of Property and Commerce […] Rabel also believed that “the mural can be seen by anyone who walks these corridors” and that “in comparison, paintings at best end up in museums or collectors homes.” This is why, she asserted, in keeping with her liberal spirit, she always had “the idea that art must be for a general public”.11

10 C 2014: 5. 11 C 2014: 5–6. FANNY RABEL: POST-REVOLUTIONARY ARTIST 151

[Fig. 5. Sobrevivencia de un pueblo (1957), http://www.neomexicanismos.tumblr.com.]

Apart from her solo work, Rabel also painted some collective murals with Los Fridos, one of which was created in Pulqueria () “La Rosita”. Pulqueria ‘La Rosita’ was located in the corner of Londres [London] Street. In 1943, Frida Kahlo got permission for her group Los Fridos to paint murals on its walls […] the project about “pulquerias” [typical Mexican ], was advised by Diego Rivera, who off ered the artists his guidance and advice on the use of techniques. The project was treated as a hobby, without any hope for becoming a great production, but the style of Rivera’s simplifi ed realism and pul- querias’ mural tradition blended. […] The artists taking part in the great project were Fanny Rabel, Lidia Huerta, Maria de los Angeles Ramos, Tomas Cabrera, Arturo Estrada, Ramón Victoria, Erasmo V. Landechy and Guillermo Monroy.12 The main theme of Rabel’s works were children. Faces with uncertain expres- sions, something between a smirk and an outburst of tears… The young Mexi- can boy, whose face represents the faces of numerous poor children from the working and peasant classes exploited all over the Mexico...13

12 C 2014: 5–6. 13 T 2007. 152 MARIA CRISTINA VALERDI-NOCHEBUENA ET AL.

[Fig. 6. “La Rosita” Pulqueria. Librerio.blogspot.com.]

[Fig. 7. Niños de Mexico portfolio 27 Original Prints 1959, http://www.ebay.com/itm/ FANNY-RABEL...1959-/301031157929.] FANNY RABEL: POST-REVOLUTIONARY ARTIST 153

[Fig. 8. Niña con canasta (1957) Original pencil-signed lithograph, ca. 1955, Luces (1955), Niña con muletas (1957), Mujer cargando a niño (1958), https://www.etsy. com/listing/173693004/fanny-rabel-rabinovich-ninos-de-mexico.]

She depicted problems such as isolation, hypocrisy, pollution and the diffi - culties of urban life, which she called urbanicidio [‘urbanicide’]. In 1989, Luz Garcia Martinez conducted an interview with Rabel about her exhibition Re- quiem for a City (Requiem para una ciudad). She told him that she began to work on the 40 artworks that were exhibited in the 70’s. She said that “the the- me are problems of , like a place in which people don’t have a place, 154 MARIA CRISTINA VALERDI-NOCHEBUENA ET AL. without communication, no coexistence. I feel worried for the city and I’m con- cerned about theissues that are brought about by the life in a big city”.14

[Fig. 9. Industria en progreso, Requiem por una ciudad series, acrylic, 1978, Casa del Tiempo Magazine http://www.difusioncultural.uam.mx/casadeltiempo/02_iv_dic_ ene_2008/casa_del_tiempo_eIV_num02_35_38.pdf.]

CONCLUSIONS

The main objective of this paper is to emphasize the importance of Fan- ny Rabel’s artistic work. After the short summary of her post-revolutionary art being infl uenced by, as well as infl uencing the Mexican culture, we presented a historical background and most important facts about Rabel. In the paragra- phs that follow, we present some opinions about her as a person and an artist by means of a conclusion. An art critic Alberto Hijar expressed the following opinion about Ra- bel: “She is one of the best printmaking artists, an excellent expressionist who paints with delicate textures and monochrome shades to accentuate the absen- ce of color in urban life”.15

14 G M 2009: 10. 15 H 2013. FANNY RABEL: POST-REVOLUTIONARY ARTIST 155

“In her lifetime she had been recognized, but was overshadowed by the three great Mexican artists”.16 Rabel believed that the reviews of critics could help both the audience and the artist. She thought they assist the audience, by providing a guide to the understanding of artworks, and aid the artists by giving them feedback and allowing them to work on their strengths and weaknesses. Rabel had several discussions (1958) with Siqueiros, O’ Gorman, Chá- vez Morado, González Camarena and others which resulted in the artist asking herself: “Are we using our landscape and our human resources in a static way, without sharing and getting a picturesque style? She said: “We are giving the humanism only the form, but not the intention or the sense, we are revolving around the same points.” (S/A 1965) Fanny Rabel has been defi ned as a surrealistic poet, new expressionist, who was imbued in the Mexican realism but focused primarily on the human aspect. In her paintings Rabel was able to communicate a very intimate, com- plex, and painful account of what it meant to be a woman in Mexico du- ring the 1960s, the 1970s, and the 1980s […] At the same time, Rabel contributed enormously to the advancement of the struggle in favor of womens’ causes, becoming a key fi gure in the genealogy of resistance to the social discrimination exerted against .17 The variety of themes included in her works made Rabel a great exponent of Mexican art. The purpose of this paper is to show her work as a post – revo- lutionary artist.

BIBLIOGRAPHY

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16 MM 2013. 17 C 2014: 39. 156 MARIA CRISTINA VALERDI-NOCHEBUENA ET AL.

C 2014 – Mirkin Dina Comisarenco, “Women’s Causes in the art of Fanny Rabel”, Voices of Mexico, Autumn-Winter, 2014–2015, no. 98, pp.35–39, http://www.revistascisan.unam.mx/Voices/no98.php Exposición 2007 – Exposición de Fanny Rabel, “La obra de la primer mu- jer muralista en México”, 2007, Mundo Hispanidad, 14 de marzo de 2007, http://www.radiojai.com.ar/online/notiDetalle.asp?id_Noti- cia=28599 G 2005 – Carlos-Blas Galinado “Museo Casa-Estudio Diego Rivera y Frida Kahlo” courtesy, Discurso Visual 3, Enero –Marzo, 2005, http:// discursovisual.net/dvweb03/aportes/apocarblas.htm# G M 2009 – Luz García Martínez, Fanny Rabel… una huella de ternura y humanismo en el arte, “Revista El Búho”, sección “De nuestra portada”, año 10, núm. 108, junio 2009, pp. 5–27, http://www. reneavilesfabila.com.mx/universodeelbuho/108/02_de_nuestra.pdf H 2013 – Alberto Híjar, Del tiempo de Fanny Rabel, “Revista de Bellas Artes”, núm. 24, Ciudad de México, 1975, pp. 52–55, http://issuu. com/cnl-inba/docs/75_11_24_pdf_completo_opr). [Consultado el 12/05/2015] MM 2013 – Merry MacMasters, Revaloran la obra de la pintora Fan- ny Rabel, “Periódico La Jornada”, 26 de agosto de 2013, http://www. jornada.unam.mx/2013/08/26/cultura/a11n1cul. UDUAL – UDUAL 2013, Revaloran la obra de la pintora Fanny Rabel, ht- tps://udual.wordpress.com/2013/08/26/revaloran-la-obra-de-la-pin- tora-fanny-rabel/ M 1997 – Andrea Montiel, Fanny Rabel: medio siglo y más dando vida a su obra, the text for a video presentation in Centro Deportivo Is- raelita, October 1997. http://www.andreamontiel.com/FANNY_RA- BEL_medio_siglo_y_mas_dando_vida_a_su_obra.html M, G B 1992 – Leonor Morales, Arturo García Bustos, S/A 1961 – S/A [sin autor] Pintoras mexicanas juegan al psicoanáli- sis, “Revista Mujeres: Expresión Femenina”, no. 55, Ciudad de Méxi- co, Febrero de 1961, http://concursofannyrabel.blogspot.mx/search/ label/Entrevistas P 1979 – Armando Ponce, Pintura Hostil de Fanny Rabel, en Requiem por una Ciudad, “Proceso” 27/10/1979, http://hemeroteca.proceso. com.mx/?page_id=278958&a51dc26366d99bb5fa29cea4747565fe- c=127241&rl=wh. Rabel Fanny 2007 – 2008 – Fanny Rabel: habitada por el arte, “Casa del tiem- po”, Vol. 01, No. 02–03, Dic. 2007 – Ene. 2008. Cuarta época; http:// FANNY RABEL: POST-REVOLUTIONARY ARTIST 157

www.difusioncultural.uam.mx/casadeltiempo/02_iv_dic_ene_2008/ casa_del_tiempo_eIV_num02_35_38.pdf T 2007 – Raquel Tibol, Algo sobre Fanny Rabel, “La Jornada Sema- nal”, núm. 637. 20 de mayo de 2007; http://www.jornada.unam. mx/2007/05/20/sem-raquel.html [7] T 2000 – José Tlatelpas, Conversaciones con Fanny Rabel, “La Guir- nalda Polar”, Redvista Electrónica de Cultura Latinoamericana en Canadá, num. 48, octubre 2000, http://lgpolar.com/page/reas/5. https://www.google.com.mx/search?rls=aso&client=gmail&q=Expsiciones+- de+Fanny+Rabel&gws_rd=cr&ei=6Z57VevnBZH4yQSUroKwA- Q#q=obras+de+fanny+rabel Pulquería La Rosita – http://www.skyscrapercity.com/showthread.php?- t=999237&page=4 http://www.ebay.com/itm/FANNY-RABEL-RABINOVICH-NINOS- DE-MEXICO-PORTFOLIO-27-ESTAMPAS-ORIG-PRINTS http://www.invaluable.com/artist/rabel-fanny-sg8t8qqya8/sold-at-auction-pri- ces/ http://4.bp.blogspot.com/-0gZLHb5l0hU/T104hGhsm0I/AAAAAAAABb0/ 2fMPo7cXi6Q/s1600/pulqueria+la+rosita,+los+fridos.jpg Images 1957 – Images and the Duty of Memory:The Survival of a People Due to Their Spirit (1957) by Fanny Rabel, http://www.neomexicanismos. tumblr.com Librerio.blogspot.com https://arteibero.wordpress.com/exposicion-actuales/exposiciones-anterio- res/para-participar-en-lo-justo-recuperando-la-obra-de-fanny-ra- bel-2013/ 158 MARIA CRISTINA VALERDI-NOCHEBUENA ET AL.

Resumen Fanny Rabel: artista posrevolucionaria Fanny Rabel fue una conocida artista mexicana de origen polaco. Ella realizó sus obras artísticas en varias técnicas: la pintura mural, la pintura de caballete, grabado y escenografía. Rabel fue una discípula de Frida Kahlo, Diego Rivera y David Alfaro Siqueiros. En este artículo hemos presentado sus obras artísticas en el contexto de su vida y la situación histórica de México (posrevolucionaria). Rabel dio sus primeros pasos artísticos como una pintora realista de la Escuela Mexicana de Pintura. Después encontró su propio estilo expresivo y su propia temática. Sus trabajos siempre tenían una estrecha relación con los problemas sociales presentes en la vida mexicana. Artista centró su interés especial en la si- tuación social de las mujeres y la comentó a través de sus obras.

Streszczenie Fanny Rabel: artystka postrewolucyjna Fanny Rabel była znaną meksykańską artystka polskiego pochodzenia. Tworzy- ła dzieła, wykorzystując różne techniki: malarstwo ścienne (murale), malarstwo sztalugowe, grafi kę i scenografi ę. Była uczennicą Fridy Kahlo, Diego Rivery i Davida Siqueirosa. W prezentowanym artykule zostały przedstawione prace Fanny Rabel w kontekście jej życia oraz sytuacji historycznej Meksyku (post- rewolucyjnej). Rabel stawiała pierwsze kroki jako malarka realistka, potem zna- lazła swój własny ekspresyjny styl i własną tematykę przedstawień. Jej prace zawsze były silnie związane z problemami społecznymi obecnymi w meksy- kańskiej codzienności. Artystka koncentrowała się szczególnie na sytuacji spo- łecznej kobiet i komentowała ją za pomocą swoich dzieł.