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2003 Gunther Gerzso: Chronology; Bibliography; Exhibitions; Filmography; and Scenography Amy J. Buono Chapman University, [email protected]

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Recommended Citation Buono, Amy J. “Gunther Gerzso: Chronology; Bibliography; Exhibitions; Filmography and Scenography." In Risking the Abstract: Mexican Modernism and the Art of Gunther Gerzso, edited by Diana C. Du Pont, 296-323. Santa Barbara: Santa Barbara Museum of Art, 2003.

This Book is brought to you for free and open access by the Art at Chapman University Digital Commons. It has been accepted for inclusion in Art Faculty Books and Book Chapters by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. RISKING THE' ABSTRACT: MEXICAN MODERNISM A:ND THE ART OF

.GUNTHER··

GEi .. ·• SO

"{ · 1 DIANA C. DU PONT

WITH CO NTRI BU TIONS BY LUIS-MARTIN LOZANO CUAUHTEMOC MEDINA EDUARD O DE LA VEGA ALFARO

SANTA BARBARA MUSEUM OF ART

RISKING THE ABSTRACT: MEXICAN MODERNISM AND THE ART OF GUNTHER GERZSO TH IS CATALOGUE WAS PUBLISHED IN CONJUNCTION WITH TH E EXHIB IT ION RISK ING THE ABSTRACT: MEXICAN MODERNISM AND THE ART OF GUNTHER GERZSO, W HIC H WAS ORGAN IZED BY THE SANTA BARBARA MUSEUM OF ART IN COOPERATION W ITH THE CONSEJO NAC IONAL PARA LA CU LTURA Y LAS ARTES, TH ROUGH THE INS TITUTO NACIONA L DE BELLAS ARTES AND THE MUSEO DE AR TE MODERNO, MEXICO .

TH E CATA LOGUE AND EXH IBITION WERE MADE POSS IBLE THROUGH THE GENEROUS SUPPORT OF : CHARL ES A . STORKE THE CHEERYBLE FOUNDATION JON 8. AND LILLIAN LOVELACE Ell AND LEATRI CE LURI A THE GRACE JONES RICHARDSON TRUST LARRY AND ASTRID HAMMETT HOUSTON AND ANNE HARTE SANTA BARBARA BANK & TRUST THE J. PAUL GETTY GRANT PRO GRAM THE CHALLENGE FUND THE CAPITAL GROUP THE SANTA BARBARA MUSEUM OF ART WOMEN'S BOARD THE NATIONAL ENDOWMENT FOR THE HUMANITIE S THE SANTA BARBARA MUSEUM Of ART VI SIONARIE S

EX HIBITION ITINERARY : SANTA BARBARA MUSEUM OF AR T. JULY 12- 0CTOBER 19, 2003 . MUSED DE ARTE MODERNO, MEX ICO CITY, NOVEMBER 12. 2003- FEBRUARY 22. 2004 MEXICAN FINE ARTS CENTER MUSEUM. CH,iCAGO, MARC H 19 - JUNE 27. 2004

SANTA BA RBAR A MU SEUM OF ART , 1130 STATE STREE T, SANTA BARBARA. CALIFORN I A 93 101 ,

AC A DEMI C ADVISORS: DR JEAN FRANCO, LUIS -MARTIN LOZANO, AND DR . EDWARD J SULL IVAN CURATORI AL ASSI STANT: ALISA PETT I DESIGNER : DAN IELA" ROCHA EDITORI AL COORDINATION : LUCINDA GUTI ERREZ EDITOR: DAWN HAL L COPYEDITOR : DEBRA NAGAO ENGLISH TRANSLATIONS OF ESSAYS BY EDUARDO DE LA V EGA A LFARO, LUIS-MARTIN LOZANO, AND CUAUHHMOC MEDINA ARE BY CARO LI NA CLARK SANDOVAL LAYOUT: ANA DE LA SERNA AND SUSANA GUZMAN DE BLAS . PRINTIN G: A RTES GRAFICAS PALERMO, MADRID, SPAIN BINDING : HERMANOS RAMOS, MADR ID, SPAIN ,

COPYRIGHT © 2003 BY THE SANTA BARBARA MUSEUM OF ART / DIANA C. DU PONT ALL RIGHTS RESERVED NO PA RT OF TH IS PUBLICATION MAY BE REPRODUCED OR TRANSMITTED IN ANY FORM OR BY ANY M EANS, ELEC TRON IC OR MECHAN ICAL, INCLUDING PHOTOCOPYING, RECORDING, OR ANY INFOR M ATION STORAGE AND RETRIEVAL SYS­ TEM, WITHOUT WR ITTE N PERMISS ION FROM TH E PUBLISHER PUBLISHED BY THE SANTA BARBARA MUSEUM OF ART IN ASSOCIATION W ITH OGE EQU ILIBR ISTA / TURN ER DISTRIBUTED TH ROUG H OAP/DISTRIBUTED ART PUBLISHERS, INC.

LIBRARY OF CONGRESS CATA LOGUING-IN -PUBLI CATION DATA : DU PONT, DIANA C. RISKING THE ABSTRACT· MEXICAN MODERNISM AND THE ART OF GUNTHER GERZSO I DIANA C. DU PONT; WITH CON TRIBUT IONS BY LUIS·MARTIN LOZANO, CUAUHTEMOC MEDINA, AND EDUARDO DE LA VEGA ALFARO CM CATA LOGUE OF A TRAV ELING EXHIB ITION HELD AT SANTA BARBARA MUSEUM OF ART AND OTHER VENUES BEGINN ING SUMMER 2003 INCLUDES BIBLIOGRAPHICAL REFERENCES 1 GERZSO, GUNTHER. 19 15- 2000- EX HIBIT IONS Z. GERZSO. GUNTH ER, 1915- 2000- CRITICISM AND INTERPRETATION . 3 . PAINT ING, ABSTRACT- MEXICO. 4 MODERNISM (ART)- MEXICO I. LOZANO, LUIS-MAR TiN 11 MEDINA, CUAUHT[MOC 111 VEGA ALFARO, EDUARDO DE LA IV GERZSO, GUNTHER, 1915-2000 V SAN TA BARBARA MUSEUM OF ART, VI. TITLE N6SS9.G4 7D8 2003 709' .2-Dc2 1 2003042693 .

COV ER : GUNTHER GERZSO, lES TEMPS MANGE lA VIE/EL TIEMPO SE COME A LA VIDA (T IME EA TS AWAY LIFE). 196 1, OIL ON MASONITE. 18 x 25 1/4 IN (46 " 64 CM), SANTA BARBARA MUSEUM OF ART, MUSEUM PURCHASE WITH FUNDS PROVIDED BY JON B. AND LILLIAN LOVELACE. Ell AND LEATRICE LURIA. THE GRAC E JONES RICHARDSON TRUST. AN ANONYMOUS DONOR, LORD AND LADY RIDLEY- TREE, SBMA M ODERN AND CONTEMPO RARY ART ACQUISITION FUND, THE ALA STORY FUND, AND THE SBMA VISIONARIES, 2002.50 (D ET A IL, PL. 62)

GUNTHER GER ZS O IMAGES © GENE CADY GERZSO, ANDREW GERZSO, AND MICHAEL GERZSO REPRODUCTION S OF All WORKS BY GUNTHER GERZSO AS WELL AS PHOTOGRAPHS FROM THE GERZSO STUDIO AND FAM ILY ARCHIVES ARE AUTHORIZED BY GENE CADY GERZSO, ANDREW GER ZSO. AND MICHAEL GERZSO . PERM ISSION ACKNOWLEDGEMENTS AND PHOTOGRAP HY CRED ITS FOR THE PLATE S AND TEXT ILLUSTRATIONS ARE FOUND ON PAGE 334 ,

CLOTH ISBN 8 4-7S06- 544-9 PAP ER ISBN B4 -7S 06- S8S -6 0.L. : M . 29 .880-2003

CHRONOLOGY AMY J. BUONO

I / 1915 Gunther Gerzso is born in Mexico City, on June 17, five years after the start of the Mexican

Revolution. His father, Oscar Gerzso, ofJewish ori­ GUNTHER GERZSO'S MOTHER I GUNTHER GERZSO'S FATHER I gin, moved from Budapest, Hungary, to Mexico City DORE WENDLAND GERZSO OSC AR GERZSO in the 1890s, during a period of active emigration from Europe. He became successful as an import­ export merchant. Gerzso's mother, Dore Wendland, 1922-24 Ludwig, Dore, and the children spend Gerzso later described this house as "a veritable art a singer and pianist from Berlin, immigrated to two years in Europe. Gerzso is seven years old at museum." Mexico in 1906. the start of this first European sojourn. Gerzso attends excellent schools, taught in Gerzso's parents met during one of Oscar By the time Gerzso and his family return to German-Swiss and Italian-Swiss, and is pressed to Gerzso's annual business trips to Europe. On his Mexico, the muralist movement is well underway. behave like an adult. Discouraged from developing return voyage, Oscar was introduced to Dore and The post-Revolutionary Mexican government of friendships with children his own age, he rebels. the two soon married. Of Dore's eight siblings, two Alvaro Obregon initiates and sponsors the paint­ He cuts classes and plays with the children of sisters become artists and one older brother will be ing of murals in churches, schools, libraries, and laborers working near his uncle's estate, or he slips an art historian and an art collector-dealer; the public buildings. away to the movies. As a last resort, Gerzso's aunt older brother will later play a fundamental role in 1927 Dore ends her marriage with Ludwig, who and uncle hire a German tutor to assist their nephew Gerzso's artistic education. suffers from alcoholism. As a result of his mother in his studies. T his also proves unsatisfactory, so 1916 Oscar Gerzso dies prematurely of a cerebral and stepfather's divorce, Gerzso is sent to southern they eventually send him to a French-Swiss school hemorrhage in Mexico City. Gunther Gerzso is six Switzerland at age twelve ro live with his uncle, Dr. in Lausanne, where, at last, he reports being happy months old. Hans Wendland, and his wife who offer ro direct with friends his own age. 1917 Dore Gerzso marries another German busi­ Gerzso's education and make him their heir. An In 1929, at the age of fourteen, Gerzso is given nessman, Ludwig Diener, who with his brother extremely influential presence for much ofGerzso's Le Corbusier's book, Vers une architecture (Towards owns a jewelry srore in Mexico City. Located in La life, Dr. Wendland serves as a father figure, men­ a New Architecture, 1923), as a Christmas present. Perla (The Pearl) building, at the corner of Calle tor, and educator. An art historian, art dealer, and Madero and Motolinfa. Ludwig's store is renowned art collector, he was a pupil of Heinrich Wolffiin, in its day. The family lives above the shop, in an the famous Swiss art historian, and like him be­ apartment on the fourth floor. Gerzso's half-sister, came a specialist in Northern Renaissance art. Dore Diener, is born. 1927- 31 Gerzso lives with his uncle near Lugano The family soon moves to the fashionable on a large estate with extensive vineyards, a Renais­ Condesa district of Mexico City where they live in sance monastery, and a monk's cemetery. During the European-sryled Edificio Condesa. Gerzso's this period, Gerzso receives his only formal artistic mother hosts extravagant parties on Sundays for training, living for five years surrounded by out­ Ludwig Diener's extended family and his business standing works of art ranging from the ancient to associates. Among Ludwig's friends is the photogra­ the modern periods, with a particular emphasis on pher Guille_rmo Kahlo, the father of Mexican mod­ Old Master paintings. Dr. Wendland is especially ernist painter Frida Kahlo fond of works by fifteenth- and sixteenth-century Gerzso's nanny, Estefana, an indigenous Northern European artists, including Konrad woman from Texcoco, has a critical impact on his Witz, Martin Schongauer, and Jan and Hubert van upbringing. She becomes his primary caregiver Eyck. Intent on teaching Gerzso connoisseurship, and often takes him on ourings to the then rustic Dr. Wendland often demands opinions from his BETTY WOLFF. GUNTHER GERZSO AS A YOUNG BOY I Chapultepec Park. pupil on the many Old Master paintings in his home. 1923. Pastel on paper

GUNTHER GERZSO AND HIS HALF-SISTER, DORE DIENER, CHRONOLOGY ) 297 I ca. 1930 Vermont, visits Mexico City, where he stays in the hostel run by Gerzso's mother. She arranges a meet­ ing to show Lauterer Gerzso's sketches for theater sets and costwnes. Lauterer recognizes Gerzso's talent for design and recommends that he develop his skill further at the Cleveland Play House. 1935-40 Gerzso moves to 2040 East 86th Street, Cleveland, Ohio, and serves as a student assistant to the director of stage design for the theater pro­ gram. During this period, the Cleveland Play House is a major venue for drama in the United States and is financed by General Electric and John D. Rockefeller. With two theaters and a perma­ nent company, it is the ideal setting for the bud­ ding scenographer. Assisted by the technical direc­ tor of the Play House, Sol Cronberg, Gerzso makes rapid progress, moving from student assistant to staff set designer in a year. In spite of his relative inexperience, he designs sets for approximately fifty-six plays in four years and even acts in one production. Gema befriends Cleveland painter Bernard Pfriem, whom he meets at a local delicatessen. Pfriem, who EDWARD WESTON. FAMILY PORTRAIT OF GUNTHER GERZSO, HIS MOTHER, AND HALF-SISTER I fixes lunch for Gerzso every day, encourages him 1925. Platinum print to become a painter and gives him a set of drawing pencils and pigments. This initiates a productive A year later, he writes to the painter-architect but with his grandmother. Gerzso protests and writes period of drawing and painting that comprises receives no answer. Nonetheless, Gerzso is profound­ his mother expressing a strong desire to return to Gerzso's earliest artistic efforts. Part of a process of ly influenced by Le Corbusier and his architectural Mexico; she agrees to bring him home. teaching himself the practice of art, this work theory and practice. He is especially intrigued by 1931-33 At age sixteen, on his return to Mexico, reflects a wide range of both European modernist Le Corbusier's application of the Golden Section, Gerzso lives with his mother and sister and attends and Mexican School influences. which he later uses in his own paintings. the German School-Colegio Alem.in-in Mexico 1937 In January 1937, Leon Trotsky arrives in Gerzso attends many social functions in his City, a prestigious school at the time, from which Mexico, where he is granted political asylum, in part uncle's home and is introduced to important art his­ he graduates with the degree of Abitur. through the intervention of Diego Rivera. torians, authors, and artists, among them Paul Klee. The Colegio Aleman is not insulated from 1938 On the eve ofWorld War II, Gerz.so travels to He also meets Fernando "Nanda" Tamberlani, an political events in Europe: its faculty includes sev­ Berlin to visit his grandmother. The anti-Semitism Italian stage designer who creates sets for La Scala, eral members of the Nazi party, and the school text­ of prewar Germany horrifies him. in Milan. Tamberlani is a friend of Dr. Wendland books, especially those in biology, are influenced Poet Andre Breton and his wife Jacqueline Lamba and spends time at the Wendland estate drawing set by Nazi ideology. Tragically, one of Gerzso's litera­ visit Mexico in April for the first time to interview designs for opera productions such as Aida. Tam­ ture teachers is abducted from Mexico and sent to Leon Trotsky. Breton, Diego Rivera, and Trotsky pub­ berlani encourages Gerzso to become a set designer. a concentration camp in Germany. lish their manifesto, "Toward an Independent Museum directors from all over Europe, especial­ During this period, Gerzso, who is self-taught Revolutionary Arc," in the Partisan Review. ly those from Holland, Germany, and Switzerland, in art, focuses his interest on drawings for theater 1939 World War II begins with Germany's inva­ also attend the Wendland parties and consult sets and costumes. sion of Poland. During the war, Dr. Hans Wend­ Wendland's extensive art library. Gerzso is intro­ To earn money during the difficult Depression land serves as the art advisor for Hermann Goering duced to the art of Wassily Kandinsky during this years, Gerzso's mother opens a hostel in Mexico City. and other Nazis, procuring and selling works by period, as well as the work of the German novelist 1934-35 Gerzso meets Fernando Wagner, a such celebrated artists as Gustave Courbet, Edgar Hermann Hesse, a neighbor. German actor, producer, and director at the Teatro Degas, and Jean-Baptiste-Camille Corot. This comfortable era of Gerzso's life ends in Orientaci6n of the Secretarfa de Educaci6n PUblica At the Cleveland Play House, Gerzso meets 1930 when, because of the Depression, Dr. Wend­ in Mexico City. Wagner uses Gerzso's designs for his Gene Rilla Cady, a music student from Susanville, land is forced to sell his estate and art collection. productions of works by Moliere, Lope de Vega, California. A graduate of the Conservatory of the Wendland wants Gerzso to continue his classical Shakespeare, and other playwrights. College of the Pacific in 1934, Gene Cady studied humanist education and proposes sending him to United States scenographer Arch Lauterer, for­ music and acting at Juilliard in New York before school in Konigsberg, East Prussia (now Kalinin­ mer set designer for the Cleveland Play House in transferring to the Cleveland Play House, where grad, Russian Federation), where he would live Ohio and professor of drama at Bennington College, she and Gerzso begin their relationship.

298 I THE ART OF GUNTHER GERZSO While in Cleveland, Gerzso often visits the Cleveland Museum of Art. He participates in the museum's Annual Exhibition, colloquially called "The May Show," and wins third prize in the free­ hand drawing category for his Salome, 1940 (Pl. 4). During summers, the off-season for the Cleve­ land Play House, Gerzso returns home to Mexico, where he continues to be involved with the local cheater. The Pan-American Theatre under the direc­ tion of Fernando Wagner at the Palacio de Bellas Anes, Mexico City, presents the play Bury the Dead, featuring Gerzso's set design. Gerzso's mother dies while Gerzso is in Cleveland. 1940 Gerzso paints Dos mujeres (Two women) (Pl. 20), which he considers his first "true" painting. This work is influenced by the painting style of Mexican modernist Carlos Orozco Romero, whom Gerzso knows personally, having met him and col­ lected his works on his summer vacations to Mexico. WENDLAND FAMILY ESTATE I Gerzso also begins collecting work by Mexican NEAR LUGANO, SWITZERLAND, 1929 painters and fellow set designers Manuel Rodriguez Lozano and Julio Castellanos, whose style he finds equally fascinating. Between the years 1941 and 1963, during the Gelman, who lacer becomes a close friend and the The Exposici6n Internacional def Surrealismo Golden Age of Mexican cinema, Gerzso also most important collector of his art. (International Exhibition of Surrealism), organ­ designs or assists in the design of over 150 film sets Gerzso travels extensively throughout Mexico ized by Andre Breton, Wolfgang Paalen, and Cesar for Churubusco Studios. He designs sets for other while filrnrnaking. The beauty and variety of the Moro, opens at the Galer/a de Arte Mexicano. Mexican as well as French and United States film Mexican landscape and its ancient architecture Leon Trotsky is assassinated in Mexico City. companies during the 1940s, 1950s, and 1960s. inspire him. He begins a lifelong fascination with Gerzso draws a postmortem portrait of the revolu­ He works for many directors, including Norman Pre-Columbian art, becoming especially interested tionary (Pl. 18). Foster, Alejandro Galindo, Roberto Gavaldon, Mi­ in Pre-Columbian architecture. On September 19, Gerzso marries Gene Rilla guel Delgado, Luis Burruel, John Ford, Yves Alle­ During chis period of full time work as a set Cady in Cleveland, Ohio. Present are friends and gret, among others. Gerzso also works extensively designer, Gerzso spends his evenings and weekends colleagues from the Cleveland Play House, Torn with the highly successful film producer Jacques painting. He concentrates on painting techniques, Ireland, actor, and Sol Cronberg, technical direc­ tor. Deciding to try painting as a full time career, Gerzso makes preparations to return to Mexico City. He and Gene Gerzso travel to Mexico via Su­ sanville, California, arriving in Mexico City in January 194 l. They live first in the Juarez district and then move to San Angel, just south of the city, where they live on Calle de Reina. 1941 Gerzso for the first time devotes himself fully to painting. However, after a financially trou­ bled year, he decides to return to the United Scates to pursue the more lucrative career of set design. Shortly before his projected departure, the Mexican film producer Francisco de P. Cabrera, who had heard of Gerzso's talent, offers him the opportunity to design sets for the film version of the Mexican novel Santa, working with the North American director Norman Foster. Gerzso accepts this offer and, upon the release of Santa, receives immediate accolades for his sec designs. Encouraged, Gerzso continues his career in film set design and by 19 50 HANS WENDLAND I NANDO TAMBERLANI I is one of the most respected set designers in Mexico. ca. 1950 1931

CHRONOLOGY I 299 and participating in the Surrealist parlor game exquisite corpse. Gerzso paints Los dias de la ca/le Gabino Barreda (The Days of Gabino Barreda Street), (Pl. 25) in homage to his Surrealist friends. Gerzso also meets Wolfgang Paalen who lives in his San Angel neighborhood. He participates in Paalen's Sunday Salons and discusses the produc­ tion of DYN with Paalen. Gerzso experiments increasingly with Surreal­ ism's abstract biomorphic style. Each interested in the European Old Masters, Gerzso, Vara, and Carring­ ton share notes on historical painting techniques. Through his work in film, Gerzso meets the Surrealist photographer Manuel Alvarez Bravo, who is employed as a still photographer on film sets. One of Gerzso's Surrealist paintings, El descuarti­ zado (The Quartered) (Fig. 49), appears in the fourth issue of Andre Breton's Surrealist magazine VVV. 1945 Inspired by the Surrealist interest in volcan­ GUNTHER GERZSO I GENE CADY GERZSO I CLEVELAND, OHIO, 1935-40 [ MEXICO CITY, early 1940s ism, Gerzso paints Paricutin (Pl. 26), titled after the site of the eruption of the Mexican volcano in 1943. World War II ends. The circle of Surrealist learning from books and from several artist Art critic Paul Westheim immigrates to Mexico, exiles in Mexico begins to disband when Peret friends. Especially helpful are the painters Julio settling in Mexico City in 1941 and remaining returns to Paris in 1948. Paalen also leaves Mexico Castellanos and Otto Butterlin, who, as a chemist, there until shortly before his death in 1963. in 1948, moving to San Francisco where he and is particularly knowledgeable about the technical 1942 Painter Wolfgang Paalen launches his art Onslow Ford establish the Dynaton movement. aspects of painting. The art restorer Robert Preux magazine DYN (The Possible), the first issue of 1946 Gerzso and Gene Gerzso's first son, Michael also helps Gerzso develop his painterly skills. which contains his now famous essay, "Farewell au Gerzso, is born. Michael later becomes an architect Gerzso is spurred to show his pieces to Ines Surrfalisme" (Farewell to Surrealism). A consistent and now specializes in computer programming in Amor, the owner of the Galerfa de Arte Mexicano, theme in DYNis the affinity between Pre-Colum­ Denver, Colorado. a pioneering venue for modernist Mexican art. In bian and Amerindian art and contemporary art. The notable Mexican writer, painter, and an­ turn, Gerzso's friend and fellow painter Otto Butter­ The Surrealists are drawn to indigenous artistic thropologist Miguel Covarrubias teaches Gerzso lin rallies Ines Amor to exhibit Gerzso's paintings. traditions, which they value for their qualities of about Pre-Columbian art and folklore and gives Amor appreciates Gerzso's work and actively en­ the marvelous and the occult. Contributors to DYN him a small figurine. Gerzso begins to collect Pre­ courages him to continue painting. include the artists, writers, and intellectuals Alice Columbian art. During the late 1930s and early 1940s, Euro­ Rahon, Eva Sulzer, Robert Motherwell, Cesar Moro, Gerzso paints Tihuanacu (Fig. 63), a painting pean Surrealists seek asylum in Mexico. Austrian­ Gustav Regler, and Benjamin Peret. he considers pivotal and the source of all his future born Surrealist Wolfgang Paalen and his wife, the Gerzso begins experimenting with Surrealism, paintings. French artist and poet Alice Rahon, settle in Mexi­ in particular the illusionistic, figurative style repre­ 1947 Gunther and Gene Gerzso move to Calle co in the fall of 1939. During the summer of sented by Yves Tanguy, whom Gerzso later cites as Fresnos 21 in San Angel Inn, where Gerzso lives 1941, the British painter Gordon Onslow Ford a principal influence. and works for the rest of his life. Andrew Gerzso, arrives with Jacqueline Johnson, a writer whom he 1944 Gerzso, still busily working for the film in­ Gunther and Gene's second son, is born. Andrew had met in New York. Prevented from entering dustry, continues to devote himself to painting on later becomes a musician-a flautist-and at pres­ the United States because of his participation in the weekends. His wife Gene Gerzso works for the Press ent is assistant to Pierre Boulez at IRCA.i\tl (Institut Spanish Civil War and the October Revolution, Office at the British Embassy in Mexico City. de Recherche et de Coordination Acoustique/ the Surrealist poet and political activist Benjamin Through her embassy contacts and their good friend Musique), Paris. Peret relocates to Mexico in 1941, along with his Juan O'Gorman, Gerzso meets Benjamin Peret and 1948 Gerzso paints La ciudad perdida (The Lost companion, the Spanish-born artist Remedios Remedios Vara, both artist exiles living on Gabino City), (PL 33) a work influenced by the details of Vara. During 1942, the Spaniard Esteban Frances Barreda Street in the San Rafael district. Among the Pre-Columbian forms. This painting is one of an makes his way to Erongarkuaro, a remote Tarascan refugees that Gerzso also encounters at their Gabino extended series in the late 1940s and early l 950s village in Michoac::in where he is Onslow Ford's Barreda home is the British painter Leonora Car­ that thematically address lost civilizations. long-term houseguest. That same year, after a dif­ rington, the Spanish painter Esteban Frances, the 1949 Gerzso participates in the exhibition La ficult escape from France, the British-born Surreal­ British collector Edward James, and the Hungarian­ ciudad de Mtfxico interpretada por sus pintores (Mex­ ist Leonora Carrington lands in New York and born photographers Chiqui Weisz and Kati Horna. ico City as Seen by Its Painters), sponsored by the eventually Mexico. Gerzso joins this circle of Surrealist exiles, socializing newspaper Exdlsior. In this same year Gerzso paints

300 I THE ART OF GUNTHER GERZSO BENJAMIN PtRET I GUNTHER AND GENE GERZSO AND GENE'S MOTHER, CLARA CADY I MEXICO CITY, mid-1940s TEOTIHUACAN, !940s

El Sefior de! ¼ento (The Wind God) (Pl. 38), a ref­ International Exhibition of Contemporary Paint­ Arts, Houston, Texas. He is one of eighteen Mexi­ erence to Quetzalcoatl, one of the great gods of ing at the Carnegie Institute, Pittsburgh, Penn­ can artists represented in the show. Mesoamerica. As a serpent-bird Quetzalcoatl is the sylvania. 1957 Gerzso paints Mal de ojo (Evil Eye) (Pl. 45), life-giving aspect of the wind. Gerzso later states 1953 While filming La dud.a (The Doubt), Gerz.so the title of which may be a reference to the Surreal­ that this work, for its attention to form, detail, and travels to the Yucatfo with director Alejandro ists, who had an abiding interest in the "evil eye." line, is one of the best canvases he ever painted. Galindo, where they visit the Pre-Columbian site of Mexican Muralist Diego Rivera passes away in Mexican Muralist Jose Clemente Orozco dies Chichen ltZ-a. This is Gerz.so's first trip to the Yucatan. Mexico City. in Mexico City. He later cites this moment as his first meaningful 1958 Gerzso participates in a group exhibition at 1950 Gerzso debuts his first solo exhibition at exposure to Pre-Columbian architecture, one that the Galerfa de Antonio Souza, Mexico City. Ines Amor's Gaier.la de Arte Mexicano in Mexico greatly affects his increasingly abstract works. "The Cactus Curtain" by Jose Luis Cuevas is City, where he exhibits his first early mature 1954 Gerz.so's second one-person exhibition opens published. works-his abstract Surreal landscapes chat reveal at the Galerfa de Arte Mexicano, Mexico City. Benjamin Peret passes away in Paris. the influence of Analytic Cubism and the artist's Art critic Margarita Nelken: "Because of the 1959 Gerzso's uncle Dr. Hans Wendland invites increasing fascination with architecture. Gerzso quality and richness of its material, this exhibition him to travel to Athens. Fritz Frankenhauser, Wend­ sells his first two works, for $950 each, to a collec­ of the painter Gunther Gerzso immediately land's longtime business associate, joins them. tor from the United States. impresses us as one of the most serious and distin­ Gerzso develops a keen interest in Greek architec­ Art critic Roberto Furia: "Undoubtedly, the guished that we have had the privilege of seeing in ture and mythology. exhibition rhat will open at the splendid gallery of Mexico. Apart from the meaning captured by the Upon his return to Mexico, he paints Recuerdo Ines Amor is of true quality.... The painter is not painter or from what the spectator may be able to de Grecia (Memory of Greece) (PL 50), the first of very well-known in Mexico as of yet ... His name is discern in works that are voluntarily distant from thirty-six paintings from his Greek Period. Gunther Gerzso and he is what is called an 'abstract all ordinary figurative representation, the quality Wolfgang Paalen commits suicide in Taxco. painter.' ... You will be able to admire this man's and richness achieve a sensation that at times 1959-61 These are the years of Gerzso's Greek Pe­ highly refined palette, his dominion, sometimes becomes hallucinatory" (Excilsior, June). riod, which serves as a bridge between the artist's smooth and other times harsh, of handling forms, 1955 Gerzso participates in the Third lnterna­ early and fully mature style of abstraction. In part and all the mystery and poetry that his paintings tionalArt Exhibition held at the Tokyo Metropolitan influenced by Informalismo and the painting of exude, thrilling mystery that resides in his experi­ Art Museum, Tokyo, Japan. Antoni Ta.pies, Gerzso becomes increasingly inter­ ence of Mayan ruins and other great autochtho­ 1956 The solo exhibition Gunther Gerzso is held ested in open space, loose form, expressive textural nous structural survivors" (Excelsior, May 7). at the Galerfa de Antonio Souza, Mexico City, one effects, and saturated, earthen colors. These charac­ El laberinto de solitud (The Labyrinth of Soli­ of the several pioneering galleries of contemporary teristics mark his transition from European Surrea­ tude) by Octavio Paz is published. art that opened in Mexico City during the intense lism to international abstraction of the post-World 1952 Gerzso participates in the exhibition Con­ period of urbanization following World War II. War II period. temporary American Paintings at the University of Gerzso also participates in the group show Gulf­ Gerzso paints Avila negra (Black Avila) (PL 54) Illinois, Urbana-Champaign, and the Pittsburgh Caribbean Art Exhibition, at the Museum of Fine as part of his Greek Period series. While he does

CHRONOLOGY 301 and drawings. He makes occasional trips to the United States and Europe for recreation, but oth­ erwise lives very quietly. In 1964 Luis Cardoza y Arag6n writes Mtxico: Pintura de hoy, which includes a discussion of six of Gerzso's paintings. Cardoza y Arag6n is the first writer to discuss Gerz.so's work within an art his­ torical context. His poetic prose in this volume is characteristic of his later writing on the artist, help­ ing establish a strong connection between Gerz.so's painting and modern poetry. In December of 1964, the Phoenix Art Museum in Arizona mounts the exhibition Contemporary Mexican Artists, which includes several of Gerzso's works. 1965 The lnstituto Nacional de Bellas Artes y Li­ teratura (!NBA) sponsors Gerzso as a representative of Mexico in the Eighth Bienal de Sao Paulo, Brazil. Gerzso's friend and most important collec­ tor, Jacques Gelman, heads the Mexican delegation to the Bienal. Gelman attends the Bienal and writes Gerz.so from Sao Paulo saying: "I've just got­ LUIS BUNUEL ON A FILM SET I MEXICO ten back from the Bienal and I'm very displeased that the prize for the best painter [was awarded] to Sugai ... .I'll tell you the details in person!!! We lost, not generally use his abstraction as a form of polit­ He builds on the momentum generated by his but you're still the best!!! Don't get discouraged!!!" ical comment, this work may reference President Greek Period work and proceeds, over the next dec­ In the mid-1960s, Gerzso begins using the Avila Camacho, whose presidency between the ade, to create his fully mature style of expressive Golden Section in composing his paintings. years 1940-46 actively reversed the cultural poli­ abstraction. 1966 In June, Ines Amor publishes her list of the cies of his predecessors and, for many, effectively 1963 In August and September, the Instituto ten most important living artists in Connaissance des put an end to the Revolutionary period in Mexico. Nacional de Bellas Artes y Literatura (!NBA) in Artes, a Parisian publication: Pablo Picasso, Joan 1960-61 Gerzso designs cover illustrations for the Mexico City holds Gerzso's first retrospective exhi­ Mir6, Marc Chagall, David Alfaro Siqueiros, Ru­ Mexico City art magazine Cuadernos de Bellas bition, covering the years 1942-63. Eighty-five fino Tamayo, Willem de Kooning, Carlos Merida, Artes. Over the course of the 1960s he will produce paintings are presented in the exhibition and Marcel Duchamp, Oskar Kokoschka, and Gunther dozens of these covers. addressed by the poet, essayist, and art critic Luis Gerzso. Michael, Gerzso's architect son, introduces Gerz.so suffers from personal and professional Cardoza y Arag6n. He writes the preface, estab­ his father to an architectural drafting machine, conflict and is unable to leave his house. He enters lishing himself as the first important champion made by the United States company Keuffel and into psychoanalysis and expands his reading of and chronicler of Gerzso's painting. This major Esser (K&E), leading Gerzso to begin drawing in Sigmund Freud and Carl Jung begun during his event provides Gerzso with new stimulus and en­ a new way. earlier Surrealist period. He also reads the writings couragement to work 1967 The Mexican-Israeli Cultural Institute spon­ of Jacques Lacan and Erich Fromm, initiating an United States art critic Hilton Kramer: "In sors Exposici6n 15 obras de Gunther Gerzso, an exhi­ intellectual as well as emotional engagement with preparation for many months, the retrospective bition of fifteen of Gerzso's oil paintings. This formal psychoanalysis. exhibition of Gunther Gerzso was opened to the connection with the Jewish community in Mexico Gerzso exhibits in the inaugural group show of public .... Heard on all sides were exclamations of City takes other forms as Gerzso's career develops. the Galeria Juan Martin, Mexico City, a major enthusiasm for the manifest high quality and From December 1967 through January 1968, venue for a new generation of artists associated imagination of the artist's work which, though Gerzso's work is included in Tendencias de! arte with La Ruptura (The Rupture) who look to Gerz­ included in collections of discrimination in many abstracto en Mt!xico, sponsored by UNAM and pre­ so with respect as a pioneer of the independent parts of the world, is not as well known as it should sented at Museo Universitario de Ciencias y Arte. path they are pursuing. be to the larger segments of the art-conscious public The accompanying catalogue text by Luis Cardoza 1962 This is a relatively quiet period in Gerzso's here" ( The News, August 30, 9A). y Arag6n situates Gerzso's painting and the earlier artistic career. With rhe waning of the Golden Age Remedios Varo passes away in Mexico City. painting of Carlos Merida, which first paved the of Mexican cinema-the film industry suffered Contemporary art critic and Pre-Columbian art way, as important precedents for contemporary from high production costs and static retail scholar Paul Westheim passes away in Berlin. abstraction in Mexico. prices-Gerzso decides to retire from film set 1963-70 Gerzso works slowly but continues to 1968 The Mexican government represses the stu­ design and devote himself full time to painting. steadily produce a large body of abstract paintings dent movement at Tlatelolco Plaza, Mexico City.

302 I THE ART OF GUNTHER GERZSO Manuel Klatchky, owner of the new Aristos Hotel in Mexico City, commissions Gerzso to design an enormous stained-glass window, 16 x 4 meters (52 1/2 x 13 ft.), for the dining room of his hotel. Related to the building programs initiated on the occasion of the 19th Olympics held in Mexico City, this commission offers Gerzso an ideal medium in which to display his interest in colorism. The Galeria de Arte Mexicano mounts a group show of thirty-five of their artists to mark the Olympics in Mexico City, including works by Gerzso, as well as Ricardo Martinez, Carlos Me­ rida, Enrique Climent, Cordelia Urueta, Leonora Carrington, Pedro and Rafael Coronel, and Enri­ que Echeverria. 1969 Gerzso begins to increasingly make draw­ ings with the K&E drafting machine. These works illustrate Gerzso's innovative technical approach and the early stages of his hard-edge Color-Field painting. Some of these works are in black-and­ white and are called Urbe to refer to the modern cityscape in Mexico. Others are in color with titles KATI HORNA. PORTRAIT OF GUNTHER GERZSO WITH HIS PAINTING DELOS I that refer only to colors, as is common in his later ca. 1960. Gelatin silver print. Courtesy Kati Homa Foundation works. Rojo-azul-amarillo (Red-Blue-Yellow), for example, is Gerzso's first ever painting made with the K&E drafting machine (PL 94). Gerzso at the Escuela de Historia de! Arte of the 1973 Gerzso receives a John Simon Guggenheim 1970 Two large Gerzso retrospective exhibitions Universidad Iberoamericano/Universidad Nacio­ Memorial Fellowship, "awarded to men and women take place: one at the Phoenix Art Museum with a nal Aut6noma de Mexico (UNAM) titled Gunther who have already demonstrated exceptional capac­ presentation of forty-nine works; the other at the Gerzso: Entre el surrealismo y la abstracci6n (Gunther ity for productive scholarship or exceptional cre­ Museo de Arte Moderno in Mexico City, under Gerz.so: Between Surrealism and Abstraction), ative ability in the arts." the auspices of the lnstituto Nacional de Bellas helping to secure Gerzso's place within the canon Octavio Paz translates a volume of William Artes y Literatura. of modern Mexican art. Pasquel y Bircenas Carlos Williams's poetry, Veinte poemas (Twenty United States art critic Pam Stevenson: "Gunther addresses the question of how Gerzso's artistic pro­ Poems, and includes reproductions of Gerzso's geo­ Gerzso is a modern artist who cannot escape his duction should be categorized, establishing the metrical drawings at the beginning of the book. cultural past. And the result is a strikingly power­ applicability of "abstraction" as a valid description. Paz's book Early Poems 1935-1955 features a ful art form on exhibir ar the Phoenix Museum of 1972 Luis Cardoza y Arag6n writes Gunther Gerzso drawing on its cover. Art .... The difficulty in viewing Gerzso is in find­ Gerzso, the first monograph devoted to Gerzso, 1974 Gerzso is invited to work at the Tamarind ing rhe proper perspective. He's a painter, yet he which is published by the UNAM. In this book, Institute of the University of New Mexico in Albu­ works in more dimensions than a sculptor, using Cardoza y Arag6n describes Gerzso's painting as querque. Here he begins his work as a printmaker light, color and particularly form to draw the view­ "representing nothing but signifying something. and produces his first lithographs, learning to er into the internal workings of his paintings" The expressiveness is born solely from form." apply his abstract designs to lithographic stones. (Scottsdale Daily Progress, February 13, 13). In October the Mexican government, under This experience initiates Gerzso's active involve­ 1971 Gerzso is active as a broker in selling art­ the auspices of the lnstituto Nacional de Bellas ment in printmaking as a vital artistic complement works from the collections of his European rela­ Artes y Literatura (!NBA), acquires an extensive col­ to his painting, Over the course of his printmak­ tives. He negotiates the sale to the Art Institute lection of Mexican modernism from Dr. Alvar y ing career, Gerzso makes some one hundred prints. of Chicago of three watercolors by the United Carmen T. Carrillo Gil. Among these 225 works are On September 2, an advertisement for one of his States painter John Marin owned by his half-sister, paintings by Gerzso, as well as works by Orozco, lithographs appears inside the front cover of Time Dore Diener, now a resident of The Hague, the Rivera, Siqueiros, and Paalen. This collection serves Magazine. Netherlands. as the foundation for the Museo de Arte Carrillo The National Museum of Modern Art in Octavio Paz's book of poetry, Configurations, Gil. A friend and neighbor of Gerzso's in San Angel Tokyo presents an exhibition entitled Contemporary features one of Gerzso's images on its cover. This Inn, the pediatrician Dr. Carrillo Gil painted as Mexican Art, featuring two of Gerzso's paintings. 1975 Marta Traba's book, La zona def silencio: use of Gerzso's art to illustrate poetry volumes will an amateur but his works count among some of continue through the rest of his career. the earliest abstractions in Mexico. He was, along­ Ricardo Martinez, Gunther Gerzso, Luis Garcia Maria de la Mercedes Pasquel y Bircenas com­ side Jacques Gelman, an early collector of Gerzso's Guerrero, is published. Traba classifies Gerzso, Ricardo pletes the first Ph.D. dissertation written about painting. Martinez, and Luis Garcia Guerrero as a new gen-

CHRONOLOGY 303 In Washington, D.C., Gerzso's drawing Urbe 11 (Metropolis II), 1970, done in ink on paper, is displayed at the exhibition Recent Latin American Drawings (1969-1976)/Line of Vision held at the International Exhibitions Foundation. Sotheby Park Bernet in New York City auc­ tions one of Gerzso's first Surrealist paintings, Los dias de la calle Gabino Barreda (The Days of Ga­ bino Barreda Street, 1944) (Pl. 25), the first of many Gerzso paintings sold by the auction houses. Gerzso's work is an integral part of El geome­ trismo mexicano, a publication issued by the lnsti­ tuto de Investigaciones Esteticas, UNAM. Xavier Moyssfo, in his "Los mayores: Merida, Gerzso, Goertiz," presents Gerzso's paintings and the earlier work of Carlos Merida as important precedents for contemporary geometric abstraction in Mexico. 1978 The Sal6n Nacional de Artes Plisticas sponsors the first "Annual Section of Selected Guest Artists: Gunther Gerzso, Carlos Merida, and Rufino Tamayo" in Mexico City. These artists are identified as "Los Nuevos Tres Grandes" (New ANTONIO SOUZA TRAVEL PHOTOGRAPH TAKEN BY GERZSO IN ITALY I l 950s Three Great Ones) by the press. 1950s. Gelatin silver print Gerzso designs his first sculpture, entitled Tataniuh, for ''Arte-Objeto Tane," a collaborative eration of Mexican artists who belong to a "zone of project between artists and silversmiths sponsored 1981 Gerzso designs an album of fourteen silk­ silence" by virtue of their shared interest in sacred by Tane, a modern Mexican jewelry and decorative screens entitled Del Arbo! Florido (From the aesthetic spaces. She also notes that the Mexican arts firm. Blossoming Tree) based on Pre-Columbian poems. literati all too often marginalize these artists. later In December, at a ceremony in the National This album, printed by Ediciones Multiarte for authors add Juan Soriano to this group established Palace, Gerzso is one of five men awarded Mexico's Arvil Gdfica, receives the Juan Pablos National Prize byTraba. most prestigious artistic/scientific award, the "Pre­ for Printed Art. First exhibited in Mexico City in 1976 Sevency-eight of Gerzso's works are presented mio Nacional de Arte y Ciencias," by President November 1981 at the Arvil Gdfica, it is also dis­ in a monographic exhibition, Gunther Gerzso: Paint­ L6pez Portillo. "Incredible," says Gerzso, "I simply played elsewhere in Mexico, Europe, and the United ings and Graphics Reviewed, 1970-76, at the Univer­ couldn't believe it. It's something very satisfying, States. Gerzso reaches "master/maestro" status, as sity of Texas at Austin. Barbara Duncan, a pioneering the most important that an artist in Mexico can described on the invitation to the opening of the curator-scholar on Gerzso in the United States, writes hope for" ( Unomdsuno, December 7). Arbo! Florido show. an essay for the accompanying catalogue. 1979 Continuing to experiment with new The Musco de Monterrey, Mexico, produces a In Pablo Neruda's book of poetry, Mtxico flori­ media, Gerzso begins to work in silkscreen, retrospective show covering forty-two years of do y espinudo, a Gerz.so painting accompanies the designing five for an album for the Olivetti Com­ Gerzso's artistic career. In this same year Gerz.so poem "Los libertadores." pany, and another for Cart6n y Pape! de Mexico also designs a projected bronze sculpture for the Acknowledging the evolution of Gerzso's (Container Corporation of America) printed by Alfa Company of Monterrey, Nuevo Le6n, Mexico. expression toward a form of hard-edge Color-Field Ediciones Multiarte. 1982 The Sociedad de lngenieros y Arquitectos painting, the now legendary museum director Fer­ Gerzso paints Tlacuilo, titled after the Nahuatl of Mexico commissions Gerzso for a sculpture in nando Gamboa includes it in El geometrismo mex­ word for "painter/scribe" (Pl. 105). silver. For this sculpture, Gerzso receives the annu­ icano: Una tendencia actual, held at the Musco de 1980 Gerzso expands beyond printmaking to in­ al award of this Society for the outstanding archi­ Arte Moderno, Mexico City. clude sculpture among the artistic media he ex­ tect or engineer of the year. 1977 In September and October, 60 obras de! plores. He designs a projected monumental sculp­ Mary-Anne Martin/Fine Art, New York, the gran pintor mexicano Gunther Gerzso is exhibited ture, thirty meters (98 1/2 ft.) high, for the Protexa first United States gallery to feature Gerzso's work, at the Museo de Arte Moderno, Instituto Nacional Company of Monterrey, Nuevo Le6n, Mexico. He and the Galerfa de Arte Mexicano, Mexico City, de Bellas Artes y Literatura, Mexico City. An ex­ also begins to work on limited edition bronze the first Mexican gallery to have presented Gerzso's panded version of the 1976 University of Texas sculptures with Hank Hine of Limestone Press, work, jointly exhibit twenty-five pieces by the at Austin exhibition, this presentation is spear­ San Francisco. artist at the Faire Internationale d' Art Contem­ headed by Fernando Gamboa and accompanied In July, the Musee Picasso d'Amibes sponsors porain (FIAC) in Paris. by a catalogue featuring an essay written by Mexique: Peintres contemporains, an exhibition of con­ 1983 Gerzso exhibits in a collective show enti­ Ram6n Xirau. temporary Mexican art that features Gerzso's works. tled Ten Mexican Artists in the Mary-Anne

304 I THE ART OF GUNTHER GERZSO One of Gerzso's serigraphs, Tai como es (As It I Is), is included in the Contemporary Latin American Art exhibition at the Kimbell Gallery of Art in Washington, D.C. Gerzso is also included in Mix­ ico nueve, an exhibition of lithographs by Mexican artists at the New Mexico Museum of Fine Arts. Funded by the Rockefeller Foundation and execut­ ed by the Tamarind Institute, the show acknowledges the nine artists who worked at the Tamarind Ins­ titute in Albuquerque. 1989 Gerzso and Paz collaborate on the limited edition portfolio Pahbras Grabadas (Graven Words), published by Limestone Press, San Francisco. Ten etchings by the artist accompany ten poems by the writer, which he selected from his collection iAguila o Sol? (Eagle or Sun?). Of this livre d'artiste, publisher Hank Hine notes, "Gerzso has developed etchings whose ... complicated layering of colors ... is exactly analogous to the layered world of myth and memory that the writing of Paz construes." A technical tour de force, the portfolio is presented at the Galeria de Arte GUNTHER GERZSO AT GALERfA DE ARTE MEXICANO WITH HIS PAINTING C/UDAD MAYA ca. 1958. Courtesy of Mariana Pfrez Amor Mexicano together with a selection of sculptures and paintings by Gerzso. 1990 In honor of Octavio Paz, Gerzso contri­ Martin/Fine Art gallery in New York City with portant friends that Gerzso made later in life butes works to an exhibition devoted solely to Paz, works from the Galerfa de Arte Mexicano. include the publisher Rene Solis and bookstore Los privilegios de la vista, held at the Centro In Neuchatel, Switzerland, Editions du Grif­ owner Juan Bonilla. Cultural/Arte Contemporineo, Mexico City. fon publishes a monograph-Gerzso--with essays Gerzso returns to film work one last time and 1991 Gerzso is named ''Academico Honorario" by Octavio Paz and John Golding. Paz's influen­ designs the set for the film production of Malcolm by the Academy of Architecture of the Society of tial and frequently republished essay, "The Icy Lawry's tragic and semi-autobiographical novel Mexican Architects. He is given the award for his Spark," discusses Gerzso's use of paradox and Under the Volcano, directed by John Huston. The artistic work in "geometrism" and-together with allusion. In trying to define Gerzso's style Paz novel and film take place during the Day of the fellow artists Joan Mir6 and Pier Mondrian-for declares, "It would of course, be absurd to try and Dead; Gerzso's macabre treatment of this festival is his contributions to "functionalism." lock Gerzso into a school or formula: Gerzso is particularly noteworthy. Gerzso's paintings are included in the exhibi­ simply Gerzso-unique." Golding, on the other 1984 Paz and Golding's monograph, Gerzso, is tion Tradition and Innovation: Painting, Architec­ hand, places Gerzso within the European Cubist presented at the Mary-Anne Martin/Fine Art gallery ture, and Music in Brazil, Mexico, and Venezuela tradition and describes his paintings as "experi­ in New York on the occasion of the retrospective between 1950 and 1980 at the Museum of the enced emotional and intellectual sensations," exhibition Gunther Gerzso. In a notice printed in Americas in Washington, D. C. Margaret Sayer which take on "a pictorial language that is non­ Publisher's Weekly, Paz and Golding's approach to Peden publishes a short essay on Gerzso in Out of referential." Golding, himself an abstract painter Gerzso is described: "A painting by Gunther Gerzso the Volcano: Portraits of Contemporary Mexican who first knew Gerzso when he lived in Mexico is a world of strange equilibriums, hostile forces Artists, co-edited by Peden and Carole Peterson. City and taught at the University of the Americas, and magnetic centers. Imaginary spaces and mythic Luis Cardoza y AragOn passes away in Mexico cites Yves Tanguy, Pablo Picasso, German art of landscapes lend support to Gerzso's refusal co be City. the 1920s, and Pre-Columbian art as Gerzso's classified as an abstract painter" (Publisher's Weekfy, 1993 A large retrospective show, Gunther Gerzso: primary influences. November 23). Pintura, grdfica, y dibujo, 1949-1993, is exhibited Psychiatrist, collector, and art writer Dr. Salo­ 1986 The Musco de Arte Carrillo Gil in Mexico at the Museum of Contemporary Art of Oaxaca, mOn Grimberg writes a book review of Gerzso's City sponsors the exhibition Gunther Gerzso. In this Mexico. Art historian and critic Cuauhtemoc Medina monograph issued by Editions du Griffon. Gerzso same year the Museo Nacional de Arce in Mexico writes the essay for the accompanying catalogue. and Grimberg become friends and Grimberg con­ City produces Los suJTealistas en Mixico. Ten of 1994 The monograph Gunther Gerzso: El splen­ tinues to write and speak about the painter's work. Gerzso's paintings are included. dor de la muralla by Rita Eder is published by His slide presentation "Violent Sexuality in 1988 Having proposed the use of bronze as early Consejo Nacional para la Cultura y las Artes (Co­ Surrealist Art: The Art of Gunther Gerzso," pre­ as 1981, Gerzso actually produces one of his first naculta). Based on months of systematic research, sented the following year, considers Gerzso's paint­ bronze sculptures, Yaxchi!dn, named after the an­ this monograph augments the earlier 1972 mono­ ing from a psychoanalytic viewpoint. Other im- cient Maya site in modern day Chiapas, Mexico. graph by Luis Cardoza y Arag6n.

CHRONOLOGY I 305 1996 Gunther Gerzso: Hard-Edge Master opens at ~l/1 Latin American Masters, Beverly Hills. Conversaciones con Jost Antonio Aldrete-Haas, written by Gerzso, is published in Mexico by Ediciones de Samarcanda. 1998 Gerzso again works with publisher Isaac Masri on a series of bronze sculptures. This series inspires the book Gunther Gerzso: Homenaje a la linea recta: Quince esculturas en bronce/Poemas de David Huerta, for which the poet David Huerta writes a poem for each of Gerzso's featured sculp­ tures. The book is published in 2001. Octavio Paz passes away in Mexico City. 1999~2000 Actively painting on an almost daily basis, Gerzso creates his final two paintings, Paisaje nocturno (Nocturnal Landscape) and Paisaje espe­ jisimo (Illusory Landscape) (Pls. 121, 122). Gerzso completes the designs for his last pub­ lic commission, a set of bronze doors for the Mexico City synagogue Shaare Shalom. 2000 On April 21, Gunther Gerzso, 84, passes away in Mexico City from lung failure. At his funeral service, longtime friend Rene Solis, direc­ tor of the Editorial Planeta, speaks of the gift of his GUNTHER GERZSO AT THE OPENING RECEPTION FOR HIS 1970 RETROSPECTIVE AT THE PHOENIX ART MUSEUM I friendship with Gerzso, moving participants to From left to right: Jacques Gelman, Olivier Seguin, and Gunther Gcrzso tears. Gerzso's remains are cremated at the Pante6n Espaiiol in Mexico City. Gerzso receives the Salvador Toscano medal in of the exhibition Point/Counter Point: Two Views of Surrealist painter Leonora Carrington is one of Mexico for his cinematographic contributions. The 20th Century Latin American Art, which includes the first to arrive at the Gerz.so household to give Cineteca Nacional in Mexico City, the preeminent his paintings. her condolences. A younger generation of Mexican cultural institution for film, names one of its gal­ leries after Gerzso. Benjamin PCret's book of poetry, Pu!queria quiere un auto y otros cuentos, contains drawings by Gerzso. The Presidential Palace acquires one of Gerzso's paintings, Huitzo (1993); this painting is reproduced in the publication Los Pinos Presiden­ tial Palace Painting Collection. In· this same year, an important Mexican publication on Edward Weston is published, La mirada de la ruptura, which includes the 1925 Edward Weston photograph of Gerzso with his mother and sister. 1995 Mary-Anne Martin/Fine Art in New York mounts a tribute exhibition entitled Gunther Gerzso 80th Birthday Show. Latin American Masters, Beverly Hills, Cali­ fornia, and Galerfa LOpez Quiroga, Mexico City, jointly publish Gunther Gerzso with an essay by _, (; Dore Ashton. t~G It On the occasion of the group exhibition Libertad en bronce (Liberty in Bronze), Gerzso begins work­ ~~'1: ing with publisher Isaac Masri on a series of small­ scale bronze sculptures. ~ - . Gerzso speaks at the Santa Barbara Museum of GUNTHER GERZSO AND FRIENDS, MEXICO CITY, 1973 I Art in Santa Barbara, California, on the occasion From left to right: Pedro Friedeberg, Mathias Goeritz, Gunther Gerzso, Ricardo Martinez, and Jose Luis Cuevas I

306 I THE ART OF GUNTHER GERZSO artists, among them Jorge Robelo, Jorge Yispik, and Jose Gonzilez Veites cite maestro Gerzso as an influential figure and mentor in their own artistic search for formal solutions to both painting and sculpture. On May 23, the Galerfa de Arte Contempo­ rineo de Xalapa, the Instituto Veracruzano de Cultura, and the Gerzso family organize a posthu­ mous homage to the artist in the form of an exhi­ bition entitled Gunther Gerzso. This exhibition displays thirty of Gerzso's paintings, and features discussions by his gallerist, Ram6n L6pez Quiroga, and two of Gerzso's disciples, painters Jorge Rabelo and Jose Gonzalez Veites. On June 17, in honor ofGerzso's 85th birth­ day, the Consejo Nacional para la Cultura y las Artes (Conaculta) organizes a colloquium at the Museo de Arte Carrillo Gil. Moderated by scholar Rita Eder, speakers include poet Alberto Blanco, art historian and critic Oliver Debroise, psychia­ trist and art writer Dr. Salom0n Grimberg, and art historian and critic Cuauhtemoc Medina, whose presentation is the basis for his written contribu­ tion in this publication. The mayor of Mexico City also honors Gerzso GRACIELA !TURBIDE. PORTRAIT OF GUNTHER GERZSO AT TEOTIHUACAN I 1990s. Gelatin silver print. Courtesy of the artist by installing a monumental bronze sculpture by the artist on the overpass at the intersection of Barranca del Muerto and Periferico Sur. This large­ between cultures, periods and apparently incom­ spoke of diverse themes, above all, painting. His scale public sculpture is based on one from the patible visions of art of the region .. .It is no secret opinions were never unwarranted, always very pas­ 1998 series produced by Isaac Masri. that for many generations of painters and the pub­ sionate, avoiding superficiality.... At a more gener­ In final memoriam, Mary-Anne Martin/Fine lic, going to see the Gerzsos at the Carrillo Gil al level, we lost a painter who, despite his legacy of Art, New York, organizes Gunther Gerzso in His Museum is to take refuge with the best modern Surrealism, Cubism, pre-Hispanic architecture Memory, and the Galerfa L0pez Quiroga, Mexico painting in Mexico" (Diario, April 20, "Opini6n"). and sculpture, the architecture of Le Corbusier (in City, presents Gunther Gerzso: Una dicada, Architect Fernando Gonzilez Cortizar: "You other words, a painter rooted in several powerful 1990-2000. have to follow the path of a man who was initiat­ traditions), was extremely individual and inde­ Gunther Gerzso's death prompts innumerable ed into Surrealism and never really abandoned it. pendent. That is why Octavio Paz wrote that 'Gen.so obituaries, which collectively convey the esteem His work, up until the very end, possessed mystery is simply Gerzso-unique"' (Arena, September 3, and significance accorded to his work. Mexican and wisdom, although it lacked the same chromat­ n. 83, 16). painter Raul Anguiano: "I always admired [Gerz­ ic richness; that's obvious and a disadvantage, but soJ because within the terrain of abstract art he was I think [his work] is outstanding. He was one of very original. His expression, in a pre-Hispanic sense the artists who explored the space on a canvas with of plasticity, represents a great virtue in Mexican vitality and innovation. He was never a painter of ACKNOWLEDGEMENTS art" (Exdlsior, April 25, 7). planes, but of spaces. He was a creator who lent Art historian and former director of the himself to a thousand reflections and a thousand First and foremost, I would like to thank Mrs. Gene Cady Museum of Modern Art in Mexico City, Teresa de! admirations" (Proceso, April 30, 78). Gerwo, as well as Michael Gerzso, for access to Gunther Gerzso's private papers and library in Mexico City, from which the Conde: "Gunther Gerzso was a great creator. He Reporter Blanca Gonzilez Rosas: "There are majority of the research for the bibliography and chronology passed from surrealism to semi-figuratism; he never works that one should be aware of Others, howev­ comes. Their generosity and enthusiasm for this exhibition has liked to be called an abstract painter. He was a man er, need to be seen, to be contemplated, unbound­ been exemplary. I owe a special thanks to Vanessa Nahoul for her [who] was very passionate about pre-Hispanic ed by interpretations. Such is the art of Gunther 1998 three-hour unpublished videotape interview of Gunther architecture and this aspect should also be further Gerzso. Critics and specialists agree about the diffi­ Gerzso, which-was of invaluable assistance in compiling this nar­ studied" (Excilsior, April 25, 7). culty of trying to define this painting that exceeds rative. I also consulted the electronically published biographies Art historian and critic Cuauhtemoc Medina: the limits of known order, be it European, Mexican, of the artist by Mary-Anne Martin/Fine Art in New York City and the Galerfa L6pez Quiroga in Mexico City, and I drew from "Gunther Gerzso was an extreme case of the com­ or Latin American" (Proceso, April 30, 79). Diana du Pont and her interviews with Gene Gerzso. plexity of the modernisms in Latin America and Art critic Irene Artigas Albarelli: ''A tireless All photographs in the Chronology are from the Gerzso the history of the fragmentary intersections conversationalist, a teller of anecdotes, Gerzso always family archives unless otherwise noted.

CHRONOLOGY I 307

BIBLIOGRAPHY, EXHIBITIONS, FILMOGRAPHY, AND SCENOGRAPHY AMY J. BUONO

EXHIBITION CATALOGUES AND BROCHURES (CHRONOLOGICAL) Phoenix Arc Museum. Contemporary Mexican Artists: Phoenix Art Museum. Phoenix: Lebeau Prine, 1964. Galeria de Arte Mexicano. Gunther Gerzso. Mexico City: Galerfa de Arce Mexi­ Cardoza y Arag6n, Luis. "Gunther Gerzso". Catdlogo da VIII Bienal de Siio Paulo. cano, 1950. Sao Paulo: Fundac;:ao Bienal de Sao Paulo, 1965. University of Illinois. Contemporary American Painting. Urbana: University of Instiruto Nacional de Bellas Arces, Galerfas de! Museo del Palacio de Bellas Arces, Illinois, 1952. Stanton Loomis Catlin and Terence Grieder. Arte latinoamericano desde la Carnegie Institute, and Gordon Washburn, ed. The 1952 Pittsburgh International Independencia: Catdlogo de obras expuestas. Mexico City: lnstituto Nacional de Exhibition ofContemporary Painting. Pittsburgh: Carnegie Inscicuce, 1952. Bellas Artes; Galerfas del Museo del Palacio de Bellas Arces, 1966. Galerfa de Arce Mexicano. Gunther Gerzso. Mexico City: Galerfa de Arce Mexicano, 1954. Yale University Arc Gallery, University of Texas Art Museum, Stanton Loomis Museu de Arte Moderna do Rio de Janeiro. Permanent Collection, Catalogue 2. Rio Caclin, and Terence Grieder. Art of Latin America since Independence. New de Janeiro: Museu de Arte Moderna do Rio de Janeiro, 1954. Haven: Yale University Press, 1966. The Mainichi Newspapers. The Third International Art Exhibition ofJapan. Tokyo: lnsriruto Cultural Mexicano Israeli. Exposici6n 15 obras de Gunther Gerzso. Mexico The Mainichi Newspapers, 1955. City: lnstituto Cultural Mexicano Israeli, 1967. Galerfa de Antonio Souza. Gerzso. Preface by Jean Cassou. Mexico City: Galerfa de Cornice Organizador de los Decimonovenos Juegos Olimpicos, and Miguel Cer­ Antonio Souza, 1956. vantes, ed. Mexico 68: Programa Cultural Mexico City: Cornice Organizador de Museum of Fine Arts Houston, and Lee Malone, ed. Gulf-Caribbean Art Exhibition los Juegos de la XIX O limpiada, 1968. at the Museum ofFine Arts Houston. Houston: Brown and Root, Inc., 1956. El Museo de Arte de Ponce, and Fundaci6n Luis A. Ferre. Nuevas adquisiciones en The Mainichi Newspapers. The Fourth International Art Exhibition of Japan. el Museo de la Universidad de Puerto Rico. Puerto Rico: Museo de Arte de Tokyo: The Mainichi Newspapers, 1957. Ponce; Fundaci6n Luis A. Ferre, 1969. Inscicuco Nacional de Bellas Arces, Deparcamenco de Anes Pl:isticas. Primera bien­ Center for Inter-American Relations. Latin American Paintings and Drawings ftom al interamericana de pintura y grabado: Exposiciones paralelas. Mexico City: the Collection of John and Barbara Duncan. New York: Center for Inter­ Inscicuco Nacional de Bellas Artes, 1958. American Relations, 1970. University of Michigan-Ann Arbor, and Helen B. Hall, ed. Mexican Art: Pre­ Museo de Arte Moderno and l nstituto Nacional de Bellas Arres. Gunther Gerzso: Columbian to Modern Times. Ann Arbor: University of Michigan, 1958-59. Pinturas/dibujos. Mexico City: Museo de Arre Moderno; lnsticuco Nacional de Musee National Bezalel. Peintures et sculptures mexicaines. Jerusalem: Musee Natio­ Bellas Artes, 1970. nal Bezalel, 1959. Phoenix Art Museum. Twenty Years of Gunther Gerzso. Phoenix: Phoenix Arr Fort Worth Art Center. Contemporary Mexican Painting. Fort Worth, Tex.: Fort Museum, 1970. Worth Art Center, 1959. Museo de Arre Moderno and Instiruco Nacional de Bellas Artes. Colecci6n Carrillo Universidad Nacional Aut6noma de Mexico, Museo de la Ciudad Universitaria. Gil. Mexico City: Museo de Arre Moderno; lnstiruto Nacional de Bellas Artes, Exposici6n retrospectiva de la pintura mexicana. III Conferencia General de la 1972. Asociaci6n Internacional de Universidades. Mexico City: Museo de la Ciudad Center for Inter-American Collections, and Monroe Wheeler, ed. Looking South: Universicaria, 1959. Latin American Art in New York Collections. New York: Center for Incer­ Centro Hist6rico. 11 anual de pintura. Barranquilla, Colombia: Centro Hist6rico, 1960. American Collections, 1972. Galerfa de Antonio Souza. Gerzso: 6leos 1961. Mexico City: Galeria de Antonio The National Museum of Modern Art Mexico. Contemporary Mexican Art. Tokyo: Souza, 1961. The National Museum of Modern Arc Mexico, 1974. The Mainichi Newspapers. The Sixth International Art Exhibition ofJapan . Tokyo: University of Texas at Austin. Gunther Gerzso: Paintings and Graphics Reviewed The Mainichi Newspapers, 1961. Essay by Barbara Duncan. Austin: University ofTexas, 1976. Museo Nacional de Arte Moderno, Insrimto Nacional de Bellas Arces, and Horacio lnstituto Nacional de Bellas Artes. Creadores latinoamericanos contempordneos, Flores-Sanchez, ed. Gunther Gerzso: Exposici6n retrospectiva. Essay by Luis Car­ 1950-1976: Pinturas y relieves. Mexico City: lnstituro Nacional de Bellas Anes, 1976. doza y Aragon. Mexico City: Museo Nacional de Arte Moderno; lnsticuto Dw1can, Barbara, and Damian Bay6n. Recent Latin American Drawings, 1969-1976: Nacional de Bellas Arces, 1963. Lines of Vision. Washington, D.C.: Inrernarional Exhibitions Foundation, Inscicuco Nacional de Bellas Anes, and Sociedad de Amigos Extranjeros de Aca­ 1977. pulco. Segundo festival pict6rico de Acapulco. Mexico City: lnsticuco Nacional de lnstiruto Nacional de Bellas Artes. 60 obras def gran pintor mexicano Gunther Gerzso. Bellas Arces; Sociedad de Amigos Extranjeros de Acapulco, 1964. Mexico City: Inscicuco Nacional de Bellas Artes, 1977.

BIBLIOGRAPHY, EXHIBITIONS, FILMOGRAPHY, AND SCENOGRAPHY I 309 Patronato Pro-Cultura, and V Festival de MUSica. Homenaje a la pintura latinoamerica­ ---. Contemporary Latin American Art. Washington, D. C.: Kimball Gallery of na. San Salvador, El Salvador: Patronato Pro-Cultura; V Festival de MU.sica, 1977. Art, 1988. The Mexican Embassy, and British-Mexican Society. Exhibition of Mexican Art. Museo de Arte Moderno, Consejo Nacional para la Cultura y las Artes, lnstituto London: The Mexican Embassy; British-Mexican Society, 1977. Nacional de Bellas Anes, and Banco Nacional de Obras y Servicios PU.blicos. FIAC. FIAC '78: Art Contemporain Paris, Grand Palais. Paris: FIAC, 1978. Museo de Arte Moderno: 25 afi.os, 1964-1989. Mexico City: Consejo Nacional Museo de Arte Moderno. Tane: Arte!objeto. Exposici6n arte objeto, 20 esculturas en para la Cultura y las Artes; lnstituto Nacional de Bellas Artes; Banco Nacional de plata. Mexico City: Museo de Arte Moderno, 1978. Obras y Servicios PU.blicos, 1989. Museo de Bellas Artes de Caracas. Obra grdfica de 29 Artistas. Caracas: Museo de Comisi6n Nacional del Quinto Centenario del Descubrimiento de America, and Bellas Artes de Caracas, 1978. Fundaci6n Mapfre Vida. El surrealismo entre Viejo y Nuevo MundlJ. Madrid: Sal6n Nacional de Anes Plasticas, and lnstiruto Nacional de Bellas Artes. Gunther Quinto Centenario, 1990. Gerzso, Carlos Mt!rida, Rufino Tamayo. Mexico City: Sal6n Nacional de Artes Galerfa de Arte Mexicano. Gunther Gerzso: Esculturas, Oleos y presentaci6n de "Pa­ Plisticas; Instiruto Nacional de Bellas Attes, 1978. labras Grabadas," dlbum de diez grabadas con poemas de Octavio Paz. Mexico Universidad lberamericano, and Cerro de las Torres. Lo introspectivo y In abstracto: City: Galerfa de Arte Mexicano, 1990. Cosmovisi6n de siete artistas mexicanos, 16-21. Mexico City: Universidad lbero­ lnstituto Cultural Mexicano/Mexican Cultural Institute. Un panorama def arte americano; Cerro de las Torres, 1978. mexicano/A Panorama ofMexican Art. Washington, D.C.: Instituto Cultural Galerfa de Arte Mexicano. Primer sal6n de obra grdfica original Mexico City: Mexicano/Mexican Cultural Institute, 1990. Galerfa de Arte Mexicano, 1979. lnstituto Nacional de Bellas Anes. Mexican Painting/Pintura mexicana, 1950-1980. Sal6n Nacional de Artes Plisticas, Secci6n Anual de lnvitados. Gunther Gerzso, Mexico City: lnstituto Nacional de Bellas Artes, 1990. Carlos Mtrida, Rufino Tamayo. Mexico City: lnstituto Nacional de Bellas Paz, Octavio, and Centro Cultural/Arte Contemporalleo. Octavio Paz: Los privi­ Anes, 1979. legi.os de la vista. 2nd ed, rev. and en!., May 1990. Mexico City: Centro/Cultural Galerfa Latinoamericana. 20 pintores contempordneos mexicanos. Havana, Cuba: Arte Contempor.ineo, 1990. Casa de las Americas; Fora de Arte Contemporalleo, 1980. Banco BCH. Obras maestros de la colecci6n def Banco BCH. Mexico City: Banco BCH, 1991. Mus<':e Picasso d'Antibes. Peintres Contemporain du Mexique. Antibes: Musee Casino Militar. Tercera gran subasta de arte. Mexico City: Fonda Solidatidad, 1991. Picasso, 1980. Galerfa del Centro Asturiano de Mexico. Gran subasta de arte. Mexico City: Promoci6n de las Artes. Actualidad grdfica-panorama artistico: Obra grdfica inter­ Galerfa de! Centro Asturiano de Mexico, 1991. nacional 1971-1979. Mexico City: Promoci6n de las Artes, 1980. Kuss, Malena, Felix Angel, Humberto Rodrfguez-Camilloni, and Museum of the Centre Cultural du Mexique. Gunther Gerzso: 14 serigraphies sur Les poesies Nahuatl Americas. Tradition and Innovation: Painting, Architecture, and Music in Bra­ de l'Arbre Fleuri. Paris: Centre Cultural du Mexique, 1981. zil, Mexico, and Venezuela between 1950 and 1980. Washington, D.C.: Galerfa Proteus. Galeria Proteus, Julio de 1981. Mexico City: Galerfa Proteus, 1981. Museum of the Americas, 1991. Hatcourts Gallery. The Mexican Museum: A Joyfal Tribute to Mexican Genius, Nagoya City Art Museum. Perspectives on the Present: Contemporary Painting ofLatin Harcourts Gallery. San Francisco: Harcourts Gallery, 1981. America and the Caribbean. Nagoya, Japan: Latin Fiestas Nagoya '91, 1991. Le Presses Artistique. Mexique d'hier et d'aujourd'hui: descouverte du Templo Mayor Centro Cultural Arte/Contemporaneo, and Fundaci6n Cultural Televisa. La colecci6n de Mixico artistes contemporains. Paris: Le Presses Artistiques, 1981. de pintura mexicana de Jacques y Natasha Gelman. Mexico City: Fundaci6n Museo de Monterrey. Exposici6n retrospectiva de Gunther Gerzso. Monterrey, Mexi­ Cultural Televisa Centro Cultural/Arre Contempodneo, 1992. co: Musco de Monterrey, 1981. Espinoza, Antonio, Kimberly Gallery, and Mexican Fine Arts Center Museum. Banco Nacional de Mexico. Grdfica contempordnea de Mixico, 1972-1982, 5 x JOO. Four Decades after the Muralists!Cuatro dicadas despuis de! muralismo. Los Mexico City: Banco Nacional de Mexico, 1982. Angeles and Washington, D.C.: Kimberly Gallery, 1992. Banco Nacional de Mexico, and Pinacoteca Marques de Jaral de Berrio. Julio Galerfa L6pez Quiroga, ed. Dace maestros latinoamericanos. Mexico City: Galerfa Castellanos, 1905-1947 Mexico City: Banco Nacional de Mexico; Pinacoteca L6pez Quiroga, 1992. Marques de Jara! de Berrio, 1982. Museum Bochum, Heribert Becker, Sepp Hiekisch-Picard, and Peter Spielmann. Rossi Gallery. Mexican Image: Modern Art in Mexico from the Fifties to the Present. Lateinamerika und der Su1Tea!ismus. Bochum, Germany: J. Kordt, 1993. Morristown, N.J.: Rossi Gallery, 1982. Schirn Kunsrhalle Frankfurt, Museum of Fine Arts Houston, and Erika Billeter, lnstituto Nacional de Bellas Artes. Sal6n Nacional de Artes Pldsticas. Mexico City: ed. The Blue House: The World ofFrida Kahlo. Frankfurt and Houston: Schirn Instituto Nacional de Bellas Artes, 1983. Kunsthalle Frankfurt; Museum of Fine Arts, Houston, 1993. Mary-Anne Martin/Fine Art. Ten Artists from the Galeria de Arte Mexicano. New Galerfa L6pez Quiroga. Colectiva de fin de afio. Mexico City: Galerfa L6pez Qui­ York: Mary-Anne Martin/Fine Art, 1983. roga, 1993. IDB Staff Association Art Gallery. Forty ofthe Americas: A Collection ofGraphic Art Museo de Arte Contemporalleo de Oaxaca, and Museo de Arte Carrillo Gil. Gun­ from Latin America, the Caribbean, and the United States of America. ther Gerzso: Pintura, grdfica y dibujo, 1949-1993. Essay by Cuauhtemoc Medina. Washington, D.C.: International Development Bank Staff Association Art Oaxaca, Mexico: El Museo de Arte Contempodneo de Oaxaca, 1993; Mexico Gallery, 1984. City: Museo de Arte Carrillo Gil, 1994. Martin, Mary-Anne, ed. Art Mexico: Pre-Columbian-20th Century/Mixico arte: Secretarfa de Hacienda y Credito PUblico 1990-1991. Colecci6n pago en especie de la Pre-colombino-siglo veinte. Holland, Mich.: Hope College, 1984. Secretaria de Hacienda y Credito PUblico 1990~1991. Mexico City: Secretarfa Mary-Anne Martin/Fine Art. Gunther Gerzso Retrospective. New York: Mary-Anne de Hacienda y Credito PUblico 1990-1991, 1993. Martin/Fine Art, 1984. Galerfa de Arte Mexicano. Escultura pequefio formato. Mexico City: Galerfa de Arte Museo Nacional de Arte. Los surrealistas en Mixico. Mexico City: lnstituto Na­ Mexicano, 1994. cional de Bellas Artes, Museo Nacional de Arte; SEP, 1986. Galetfa L6pez Quiroga. Cuatro surrealistas latinoamericanos: Gunther Gerzso, Schirn Kunsthalle, and Erika Billeter, ed. Imagen de Mixico: La aportaci6n de WifredlJ Lam, Roberto Matta, Fernando de Szyszlo. Mexico City: Galerfa L6pez Mixico al arte de siglo XX. Frankfurt: Schirn Kunsthalle, 1987. Quiroga, 1994. Kimball Gallery of Art. Eighteen Contemporary Mexican Artists. Washington, D. C.: ---. Varia invenci6n: Cincuenta obras en papel. Mexico City: Galerfa L6pez Kimball Gallery of Art, 1987. Quiroga, 1994.

310 I THE ART OF GUNTHER GERZSO Medina, Cuauhtemoc. "Gunther Gerzso." In XXII Festival Internacional Cervan­ ---. "Mexicanos en la colecci6n Carrillo Gil." Exdlsior, October 29, 1972. tino. Mexico City: Galeria Lopez Quiroga, 1994. Aldrete-Haas, Jose Antonio, and M6nica de la Torre. "Gunther Gerzso." Bomb: Museo de Arte Comemporineo de Monterrey, and Colegio de San Ildefonso. Special Issue on Latin America no. 74 (2001): 30-36. Jalisco: Genio y maestria. Monterrey, Mexico: Museo de Arte Contemporalleo Amor, Ines. ''A.rt in Mexico: A Dealer's View." Atlantic Monthly, March 1964, 129-31. de Monterrey, 1994. ANSA. "Los videoastas, en busca de espacios y consolidaci6n." La Jornada, August Museo de Arte Moderno, Banco de la Rep\lblica, and Biblioteca Luis-Angel Aran­ 10, 1993, 38. go. Pintores en Mt!xico de! siglo XX: Colecci6n Museo de Arte Moderno Mexico. Anzures, Miguel Salas. "Cincuenta afi.os de arte mexicano." Artes de Mixico 8, nos. Mexico City: lnsticuto Nacional de Bellas Artes, 1994. 38-39 (1962). Ortiz Monasterio, Pablo, and Museo Estudio Diego Rivera, eds. Edward Weston: La ''Apoyan a Israel 60 intelecmales." Excelsior, April 9, 1967. mirada de la ruptura. Mexico City: El Instituto, 1994. Aranda Luna, Javier, and Gunther Gerzso. "Ejercicio de memoria: Entrevista." Smithsonian Institution Traveling Institutions, and Mexican Cultural Institute. Vuelta, May 1996, 29-30. Mexico: A Landscape Revisited/Mexico: Una visi6n de su paisaje. Washington, D.C.: Arciniega, Felix. ''Arts and Sciences Awards Presented." The News (Mexico City), Smithsonian Institution Traveling Exhibitions; Mexican Cultural Institute. December 21, 1978. San Francisco Museum of Modern Art, and Museum of Contemporary Art Art in America. "[Galleries representing Gerzso]." Art in America: 87-88 Annual (North Miami, Fla.). Frida Kah lo, Diego Rivera, and Mexican Modernism: From Guide to Galleries, 1987. the Jacques and Natasha Gelman Collection. Essay by James Oles. San Fran­ Art Institute of Chicago, Mary Reynolds, and Terry Ann R. Neff. Mary Reynolds cisco: San Francisco Museum of Modern Art, 1996. and the Spirit ofSurrealism. Chicago: Art Institute of Chicago, 1996. Schwartz, Constance, and Franklin Hill Perre!, eds. Latin Viewpoints into the ''Arte precolombino y tecnologfa armonizan en obra de Gunther Gerzso." El Mainstream. Nassau, N.Y.: Nassau County Art Museum, 1996. Diario de Mexico, April 22, 1980. Adam Biro, Mona Bismarck Foundation, and Sophie Zagradsky, ed. Peinture mod­ Artigas Albarelli, Irene M. "Glifos antiguos y futuros: Algunos ekphrases mexi­ erne au Mexique: Collection Jacques et Natasha Gelman. Paris: Adam Biro; Mona canos." Poligrajlas 2 (1997): 229-39. Bismarck Foundation, 1999. ''Artfstico vitral habri de decorar nuevo hotel." El Nacional, May 23, 1968. Fundaci6n Pedro Barrie de la Maza. Arte mexicano: Colecci6n Jacques y Natasha Ashton, Dore. "Comentarios sabre la exposici6n Plural en Austin." Plural 52, Gelman. Madrid: Fundaci6n Pedro Barrie de la Maza, 1999. January 1976, 81. Fundaci6n Proa. Arte mexicano: Colecci6n Jacques y Natasha Gelman. Buenos Aires: ---. "La pintura de Gunther Gerzso." Vuelta 8, no. 92 (1984): 43--45. Fundaci6n Proa, 1999. Asociaci6n de lngenieros y Arquitectos de Mexico. "Presea para las premios que Mexican Cultural Institute. Three Generations of Mexican Masters. Washington, esta asociaci6n otorgari anualmente." Boletin Ingeneria!Arquitectura (1982). D.C.: Mexican Cultural Institute, 1999. Baigts, Juan. "El mito de Gerzso." Excelsior, October 9, 1977, 9. Petrobras. Mexico: Arte moderna e contemporJ.nea/Coleriio Gelman. Rio de Janeiro: Barreda, Carmen, ed. Carlos Orozco Romero y sus discipulos. Monterrey, Mexico: Petrobras, 1999. Museo de Monterrey, 1968. Arevalo, Javier, and Galeria L6pez Quiroga. Una constelaci6n de noches. Mexico Basulto Jaramillo, E .. "La colecci6n 'Carrillo Gil' est.i. en exhibici6n." El Universal, City: Galeria L6pez Quiroga, 2000. October 26, 1972. Galeria L6pez Quiroga. Gunther Gerzso: Una decada, 1990--2000. Mexico City: Bataille, Georges. Las ldgrimas de Eros. Barcelona: Tusquets, 1981. Galeria L6pez Quiroga, 2000. Bay6n, Damian. Amhica Latina en sus artes. Mexico City: UNESCO, 1973. Museum of Contemporary Art San Diego. Frida Kahh, Diego Rivera andTwentieth­ ---. Artistas contempordneos de America Latina. Barcelona: UNESCO; Ediciones Century Mexican Art: The Jacques and Natasha Gelamn Collection. San Diego: del Serbol, 1981. Museum of Contemporary Art, San Diego, 2000. ---. Aventura pldstica de hispanoamerica: Pintura, cinetismo, artes de la acci6n National Gallery of Australia. Frida Kahlo, Diego Rivera and Mexican Modernism: (1940-1972), con una puesta al dia hasta 1987. 2nd ed, rev. and enl., Breviarios The Jacques and Natasha Gelman Collection. Canberra: National Gallery of def Fondo de Cultura Econ6mica, 233. Mexico City: Fonda de Cultura Australia, 2001. Econ6mica, 1991. ---. "La escultura en plata." Artes de Mexico: Nueva epoca. Special edition (1990), 57-80. GERZSO IN CONTEXT: BOOKS, ARTICLES, REVIEWS, AND ---. Lateinamerikanische Kunst der Gegenwart. Berlin: Frolich and Kauffman, REPRODUCTIONS (ALPHABETICAL) 1982. Bell, David. "Lithograph Show Surprises." Journal North (Santa Fe, N. Mex.), A. Z. "Paris carrefour des arts." L'Aurore, October 25, 1978. February 23, 1988. "A Fernando Benitez, el Premio Nacional de Letras 1978." Unomdsuno, December Benedetti, Mario. "Pendula." Revista de la Universidad de Mexico, April 1967, 6, 1978. 8-10. Abelleyra, Angelica. "Cuando se encuentra el estilo disminuye la libertad: Gen.so." La Biro, Ilona. "The Many Lives of Gunther Gerz.so." The News (Mexico City), Feb­ Jornada, August 12, 1993, 29. ruary 28, 1993. ---. "Gerz.so: Los criticos siempre est.i.n atrasados media siglo." La Jornada, Blanco, Alberto. "Autorretratos: La visi6n y el espejo." Artes de Mexico: Nueva August 11, 1993, 26. epoca, no. 3 (1989): 90-91. ---. "La adolescencia, Unica vez en mi vida que tuve entrenamiento artistico: "Bocetos de Rodin en la colecci6n Alvar Carrillo Gil." Excelsior, October 8, 1972. Gerz.so." LaJornada, August 10, 1993, 37. Borges, Jorge Luis. "El inmortal." In Obras comp/etas. Buenos Aires: Emece Edi­ "Abstrakte Malerei in Mexiko: Gunther Gerz.so." Das Kunstwerk: Eine Zeitschrift tores, 1974. Uber alle Gebiete der bildmden Kunst 11, no. 8 (1958): 28-33. Brooks, Leonard. Oil Painting: Basic and New Techniques. New York: Litton Acha, Juan. "Coronel: La couleur et ses significations." Nouvelles du Mexique, no. Educational Publishing, 1971. 84-85 (1976), 19-28. Cadefia Z., Daniel. "Todo el mundo." Diario de Mixico, September 2, 1977. ---. "Las estratificaci6nes pict6ricas de Gunther Gerzso." Plural 34, July 15, Calvo Serraller, F. '"Pintado en Mexico,' una visi6n no folkl6rica." El Pais, No­ 1974, 29-33. vember 12, 1983.

BIBLIOGRAPHY, EXHIBITIONS, FILMOGRAPHY, AND SCENOGRAPHY I 311 "Camale6n de Gunther Gerzso; Entre el cine y la pintura. lm3.genes geomtrricas "Crea que en pafses como Mexico esti la soluci6n del futuro, dice Gunther Gerzso." y recuerdos surrealistas de una tpoca de oro." Epoca, June 28, 1993. Unomdsuno, December 7, 1978. Camarga B., Angelina. "La gente acude aver mis el arte porque se siente engafiada Crespo de la Serna, Jorge. "La colecci6n Carillo Gil." Novedades, November 14, 1972. polfricamente y espiritualmente: Gerzso." Excilsior, November 17, 1980. ---. "Exposici6n colectiva en 'Las Pergolas."' Novedades, April 1, 1966. Canaday, John. "Mexican Modernism." New York Times, April 25, 1965. ---. "Exposiciones de Gunther Gerzso, Jose Jayme y Gordillo." Exdlsior, Cantinflas as Pepe. Los Angeles: Columbia Pictures Corporation, 1960. December 23, 1956. Cant6n Zetina, Carlos. "Que el INBA no s6lo haga encuestas sino que impulse a ---. "Gerzso, mago alquimista." Excilsior, May 14, 1950. artistas, proponen varios pintores." Excilsior, September 4, 1972. ---. "Par museos." jueves, February 2, 1966. Cardoza, Denis. "Gunther Gerzso; 'Estoy bien y no me gusta."' Siempre!, August Crespo de la Serna, Jorge, ed. Homenaje a Carlos Orozco Romero. Mexico City: I. 15, 1996, 73, Galeria de Exposiciones Temporales; Museo de Arte Moderno, 1968. Cardoza y Arag6n, Luis. "AlgU.n ruido, algunas nueces." Exdlsior, June 1, 1959. Cuarenta siglos de pldstica mexicana. Mexico City: Editorial Herrero, 1971. ---. ''Artes plisticas: La obra m3.s reciente de Gerzso." El Dia,April 6, 1970, 12. "De la Cueva, de las cinco premios nacionales." El Dia, December 21, 1978. ---. "Gunther Gerzso." Siempre!, January 3, 1979, VIII. Debroise, Olivier. Figuras en el tr0pico, pldstica mexicana, 1920-1940. Barcelona: ---. Gunther Gerzso. Mexico City: Universidad Nacional Aut6noma de Mexi- Oceana, 1984. co, 1972. Deligeorges, Stephane. "Effet annoncer ce renouveau." Nouvelles Litteraires, Oc­ "La obra mis reciente de Gerzso." El Dia, April 6, 1970. tober 27, 1978. ---. "La pintura de Gunther Gerzso." Plural, October 1971, 31-33. Deschamps, E. "Acusan al director de! INBA de 'demagogo': Confunde lo que es el ---. Mexico: Pintura activa. Mexico City: Ediciones Era, 1961. arte y su labor de difusion." Exdlsior, March 9, 1971. ---. Mexico: Pintura de hoy. Mexico City: Fonda de Cultura Econ6mica, 1964. ---. "Demanda L. E. la creaci6n de un patrimonio pict6rico nacional." ---. Ojo/Voz. Mexico City: Ediciones Era, 1988. Exdlsior, 1974. ---. Pintura contempordnea de Mixico. Mexico City: Ediciones Era, 1974. ---. "Una muestra de arte iberoamericano, 'indispensable.'" Excilsior, June 7, ---. Pintura contempordnea de Mb:ico. 2nd ed. Mexico City: Ediciones Era, 1988. 1975, ---. "Riqueza y sencillez de Gunther Gerzso." Siempre.~ April 1, 1970, V-VII. Diaz, Fernando M. "En el Can-illo Gil: Retrospectiva de Gunther Gerzso." Ova- Tendencias de! arte abstracto en Mexico. Mexico City: Universidad ciones, February 3, 1994, 3. Nacional Aut6noma de Mexico, 1967. Diaz, Socorro. "Entrevista con Gunther Gerzso.'' El Dia, March 24, 1970. Cardoza y Arag6n, Luis, ed. "Diversidad y renovaci6n." Galeria de Arte Mexicano, "Dace artistas latinoamericanos." Plural, 1975, 93-96. Octubre 1968. Mexico City: Galeria de Arte Mexicano, 1968. "Duas tendCncias representa<;:iio arte mexicana." 0 Estado de Sao Paulo, August 30, Carrasco, Lucia. "Retrospectiva de Gunther Gerzso en el Carrillo Gil: 'Yo soy mis 1965, bien un sefior triste."' Reforma, February 3, 1994, 9. Dujovne Ortiz, Alicia. "La oleada azteca en Paris: Signo de Rulfo y exposiciones Castro, Rosa. "Seis personalidades responden a una encuesta sabre la pintura mex­ de Zapata y Gerzso." Exdlsior, December 29, 1981, 1. icana." Novedades, July 27, 1958. Ebony, David. "The Secret Behind the Surface." Art in America, April 1996, 102-105. Central del BlA. "Antologias de artistas mexicanas del siglo XX. Pintares." Burd Eder, Rita. Gunther Gerzso: El esplendor de la mural/a. Mexico City: Ediciones Era, 1994. fnteramericano de Arte 4 (1958). "El artista coma modelo." El Universal April 23, 1972. Cesarman, Esther M. "Gunther Gerzso." El Financiero, February 12, 1994, 35. El Grupo de los 16, A.C. Denos una mano: Quinta venta anual de arte. Mexico Chavez de Caso, Margarita. "Palabras de recepci6n de las nuevos academicos hono­ City, El Grnpo de los 16, AC, 1985, rarios por la arquitectura." Paper presented at the XXI Sesi6n solemne de la ---. Denos una mano: Venta anual de arte. Mexico City: El Grupo de las 16, Academia Nacional deArquitectura, Mexico City, 1991. AC, 1982, Chimer, lordan. America Latintl: Sugestii pentru o galerie sentimental. Bucarest, "El Presidente Echeverria abriri mafiana la colecci6n Carrillo Gil." Exdlsior, Oc­ Romania: Editura Meridiane, 1984. tober 24, 1972. Chisalita, Ruxandra. "El centenario de la Revista Azul." Universidad de Mixico 49, "El Presidente inaugurata hoy el Museo de Arte de Carrillo Gil." Excilsior, August no. 527 (1994), 10-15, 30, 1974, "Cincuenta pinturas en una 'antologfa personal' de Tamayo, Merida y Gerzso, hoy, Elguea, Javier A. Las teorias de! desarrollo social en America Latina: Una reconstru­ en el Palacio de Bellas Artes." Unomdsuno, April 14, 1978. cci0n racional. Mexico City: El Colegio de Mexico, 1989. Colle Corcuera, Marie-Pierre. Artistas latinoamericanos en su estudio. Mexico City: "En Mexico se puede hacer gran arte, no es necesario ir a Paris o Nueva York: Editorial Limusa, 1994. Gerzso." Exdlsior, September 29, 1982. Colle, Marie-Pierre. Latin American Artist:!' in Their Studios. New York: Vendome "En septiembre el Presidente Echeverria entregari la colecci6n Carrillo Gil, 225 Press; distributed in the U.S. and Canada by Rizzoli International Publi­ obras adquiridas par el gobierno este afio." _f''xdlsior, August 3 1 , 1972. cations through St. Martin's Press, 1994. "Entrevista a Gunther Gerzso." Gaceta: 6rgano informativo def Museo de Arte Conde, Teresa del. "Esculturas intimiscas en el metal lunar." Artes de Mexico: Carrillo Gil 1, no. 5 (1986): 1-3. Escultura en plata no. 52 (2000). "Entrevista con el historiador y cdtico argentino Damian Bay6n: Las artes plisticas Consejo Nacional para la Cultura y las Anes. De mi colecci6n. Mexico City: en Latinoamerica, en condici6n de ser descubiertas por grandes museos y Consejo Nacional para la Cultura y las Artes, 2000. galerfas." Unomdsuno, July 16, 1978. ---. A flor de pie!: Maestros emeritus def sistema nacional de creadores. Mexico "[Entry for Gerzso's third prize in freehand drawing competition]." The Bulletin City: Consejo Nacional para la Cultura y las Artes, 1998. ofthe Cleveland Museum ofArt 26, no. 5 (1939). ---. Sistema nacional de creadores de arte: Generaci6n 1994. Mexico City: Con­ Espindola Hernandez, Jorge. "La pintura es ternura y masoquismo positivo: sejo Nacional para la Cultura y las Artes, 1994. Gunther Gerzso." Unomdsuno, February 3, 1994, 9. Covantes, Hugo. "El geometrismo en busca de Mexico." La Onda, April 23, Esquivel, Magana. "La temporada de 'Players, Inc.,' en ingles." El Nacional April 1978. 4, 1954, Cranfill, Thomas Mabry, ed. The Muse in Mexico: A Mid-Century Miscellany. "Extraordinaria exhibici6n de pintura mexicana." Novedades, November 12, Austin: University of Texas Press, 1959. 1967,

312 I THE ART OF GUNTHER GERZSO FAI, and Save the Children Mexico. Pintores y escu!tures mexicanos contempordneos. "[Advertisement for etchings]." Mam/FA 4, no. 1 (1995). Mexico City: FA!; Save the Children Mb:ico, 2000. "[Cover design for journall." Tierra Adentro no. 8 (1977). Fauchereau, Serge. Les peintres revolutionnaires mexicains. Paris: Editions Messidot, 1985. "[Design for 'Bury the Dead']." Arte en Mtxico afio 1, no. 1 (1939). Faveton, Pierre. "The Blue-Chip Artists of1971." Realitis, October 1971, 76-85. "[Entry for first lithograph]." Mexico City: Originales para Coleccio- Feibelmann, Teresa. "Letter from Mexico." Pictures on Exhibit 33, no. 8 (1970). nistas, 1974. Fernandez, Francisco. "Gunther Gerz.so: 'No hay talentos para la pintura mural."' ---. "[Reproduction of Ciudad abandonada]." Universidad de Mexico 8, no. 10 Sucesos para todos, 1977, 40----44. (1954), 13. Fernandez Marquez, P. "Aumento del patrimonio nacional artfstico." Revista ---. "[Reproduction of Composici6n]." Cuadernos de Bellas Artes 2, no. 4 ( 1961). Mexicana de Cultura, November 5, 1972. ---. "[Reproduction of Personaje-Paisaje]." Mexico City: Culrura Nacional. "Fine Arts Center Offers 'Conversation' with Mexican Artist." Albuquerque PRJ; Secretarfa de Informaci6n y Propaganda; Instituto de Esrudios Politicos, }ourna~ October 14, 1984. Econ6micos y Sociales, 1981. Flores Castro, Mariano. "El 8 y el 0: Las artes plasticas en Mexico en 1980." ---. "[Reproduction of Universo]." Somos Somex (1986). Unomdsuno, January 3, 1981, 13. ---. "[Untitled cover image]." Mexico City: Plan y Programas de Esrudio "Flores Olea inaugurari una muestra de Gunter Gerzso, el 10 en Paris." Exdlsior, 1993 de Educaci6n Basica Secundaria. Secretarfa de Educaci6n PU.blica, 1993. November 6, 1981. ---. "[Untitled artwork]." Cuadernos de Bellas Artes 2, no. 9 (1961). Flores-Sanchez, Horacio. El dibujo mexicano de 1847 a nuestros dias. Mexico City: ---. "[Untitled artwork]." Cuadernos de Bellas Artes 2, no. 7 (1961). lnstituto Nacional de Bellas Artes, 1964. ---. "[Untitled artwork]." Revista de la Universidadde Mixico24, no. 2 (1969). ---. Pintura mexicana de! siglo XX. Puebla de Zaragoza, Mexico: Librerfa Ma­ ---. "[Untitled artwork]." JPN: Ciencia, art, cultura 10 (1980). dero, 1962. ---. "[Untitled black and white drawing]." Didlogos: Artes!Letras/Ciencias Folch, Mireya. "La expresi6n de lo irracional: Gerz.so." El Sol de Mexico, Sep­ humanas 4, no. 3 [21] (1968). tember 6, 1977, 1,4. ---. "[Untitled blade and white drawings]." Didlogos: Artes/Letras!Ciencias Foppa, Alafde. "Los tres grandes modernos: Tamayo, Merida y Gerzso en una humanas6, no. 2 [32] (1970). exposici6n apropiada para ellos. Majestuosa, sin ventajas ni desventajas, en un ---. "[Untitled black and white drawings]." Didlogos: Artes!Letras/Ciencias acto de plena justicia." Novedades, April 23, 1978. humanas 7, no. 3 [39] (1971). Frenk, Mariana. "Como la vida misma: Una apreciaci6n critica sobre la pintura ---. "[Untitled black and white drawings]." Didlogos: Artes!Letras!Ciencias contemporinea de Mbcico." Mundo medico: Vida, medicina y sexologia 3, no. humanas 12, no. 2 (1976). 33 (1976), 37--48. ---. "[Untitled cover and black and white illustrations]." Mexico City: Fuentes, Irma. "En el umbral." El Dia, December 21, 1978. Didlogos: Artes!Letras/Ciencias humanas 20, 1984. Furia, Roberto. "Pintores, pintorerias y pintoretes." Excelsior, May 7, 1950. ---. "[Untitled cover image]." Mexico City: Camara Nacional de Comercio Fusoni, Ana I. "El arte como inversi6n." FORUM 1, no. 6 (1982). de la Ciudad de Mexico, 1985. ---. "Gunther Gerzso: Un pintor intelectual." Novedades, March 28, 1971. ---. "[Untitled cover image]." Mexico City: Plan y Programas de Esrudio Galerfa de Arte Mexicano. Cincuenta y seis aniversario de G.AM. Mexico City: Gale- 1993 de Educaci6n Bisica Primaria. Secretarfa de Educaci6n PU.blica, 1993. rfa de Arte Mexicano, 1991. "[Untitled drawings]." Armonfa 3, no. 8 (1995). Galerfa Universitaria Aristos: Actitudes pldsticas. Mexico City: Universidad Na­ "[Untitled drawings]." Vivencia 2, no. 8 (1969). cional Aut6noma de Mexico, 1965. "[Untitled painting]." Mtxico en el Arte 10-11 (1950). Gallardo Esparza, Luis Francisco. "Pintar: Gunther Gerzso." Macr6polis, February "[Untitled painting]." Das Kunstwerk: Eine Zeitschrift iiber alle Gebiete 23, 1994, 83. der bildenden Kunst. Kunst in Lateinamerika. 13, no. 5-6 (1959). Garcia Ascot, Jose Miguel. ''Art Today in Mexico." Texas Quarterly 2, no. 1 (1959): Goeritz, Mathias. "Secci6n de arte." Arquitectura Mexico: XXV Aniversario 25, no. 169-70, plates 45-48. 83 (1962). Garcia Estrada, Jaime. "Gunther Gerz.so: Escen6grafo cinematogd.fico." Estudios Gonzalez Correa, Carlos. "Gunther Gerz.so, Premio Nacional de Arte." Novedades, Cinematogrdficos 1, no. 3 (1995): 40-49. December 14, 1978, 1, 12. Garcia Krinsky, Emma Cecilia, Fondo Kati Homa, and Centro Nacional de lnves~ "Gran muestra de pintura mexicana contemporinea." Diario de Barcelona, No- tigaci6n Documentaci6n e Informaci6n de Artes Plisticas (Instituto Nacional vember 24, 1983. de Bellas Artes). K:tti Horna: Recuento de una obra. Special ed., includes English Grimberg, Salom6n. ''Art Appreciation." Texas Business, 1984, 81-86. translation. Mexico City: Fondo Kati Horna CENlDIAP-lNBA, 1995. ---. "Las paredes hablan." Medico lnteramericano (February 1985): 10, 11, 33. Garcia Panne, Juan. "Algo transparente." Vuelta 12 (November 1977): 49-50. ---. "Putting Art on the Couch." Vision 4, no. 11 (1981). Garve, Andrew. The Cuckoo Line Affair. London: Published for the Crime Club ---. "Violent Sexuality in Surrealist Art: The Art of Gunther Gerz.so." Paper by Collins, 1953. and slides presented at the Southwestern Medical School, Presbyterian Hos­ Gaspar H., Jorge. "El cateterismo cardiaco: Otra perspectiva desde la posici6n hori­ pital, Dallas, 1984. zontal. Lecciones derivadas de una pintura de Gerz.so." Archivos de! Instituto Grupo Azabache. Jmdgenes para los nifios/Jmages for Children. Mexico City: Grupo de Cardiologia de Mexico 65, no. 65 (1995): 375-80. Azabache, 1990. "Gerzso." Publisher's Week9', November 23, 1984. Grupo de los 16. Pintura y escultura mexicana: Catdlogo 1994. Mexico City: Grupo "Gerzso exhibe." Excilsior, September 10, 1977. de los 16, 1994. Gerzso, Gunther. Conversaciones con Jost! Antonio Aldrete-Haas. Mexico City: Edi­ Grupo Seguros la Comercial, ed. "[Reproductions of Noche, 1955; Paisaje, 1955; ciones de Samarcanda, 1996). Barranca, 1955; Verde~rojo~azul 1976; Verde-azul-amarillo, 1969; Campo ---. "[Reproductions of Abstraction #1; Two Personages; Abstraction #2; Ab­ b!anco, 1964; Naranja-amarilln-azul 1973; Blanco-verde, 1963-74]." Mexico straction #3]." The Texas Quarterly 2, no. 1 (1959). 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BIBLIOGRAPHY, EXHIBITIONS, FILMOGRAPHY, AND SCENOGRAPHY I 313 ---. "Una semana de abstractos." Exct!lsior, September 15, 1963. Joysmith, Toby. "The Art Galleries." Mexico Quarterly Review 1, no. 3 (1962). "Gunther Gerzso expondd en Paris." Exdlsior, October 3, 1982. ---. "The Blot and the Diagram." The News (Mexico City), November 23, "Gunther Gerzso." The News (Mexico City), November 3, 1979. 1980, 21. "Gunther Gerzso." El Financiero, September 12, 1989. ---. "The Carrillo Gil Museum." The News (Mexico City), February 24, "Gunther Gerzso." Arizona Living, February 13, 1970. 1980. "Gunther Gerzso." In Twelve Latin American Artists Today/Doce artistas lati~ ---. "Echoes of a Heroic Past." The News (Mexico City), April 23, 1978. noamericanos de hoy, 23-25. Mexico City: Plural, 1975. ---. "The Evocation of Flowers." The News (Mexico City), December 7, "Gunther Gerzso." Cuadernos de la Cineteca Nacional: Testimonios para la historia 1980. de! cine mexicano 6 (1976): 81-91. ---. "Gerzso: Solitude Locked in Stone." The News (Mexico City), April 9, "Gunther Gerzso triunfar en los Estados Unidos." El Hera/do, March 17, 1970. 1967. "Gunther Gerzso y Wolfgang Paalen en la colecci6n Carrillo Gil." Exdlsior, ---. "Gunther Gerzso: Creating Order out of Chaos." The News (Mexico October 1, 1972. City), April 5, 1970. "Gunther Gerzso, arquitecto de la ilusi6n convertida en realidad cinematogrifica." ---. "Hotel Aristos: Patron of the Arts." The News (Mexico City), July 14, 1968. Gaceta UNAM, May 11, 1990, 16-17. ---. "Mexican Art Sale in New York." The News (Mexico City), May 6, 1979. "Gunther Gerzso: Entre el cine y la pintura." .Epoca no. 108 (1993): 68-71. ---. "Mexican Painting Today." Mexico Quarterly Review 1, no. 2 (1962). "Gunther Gerz.so: 'Pasi0n fria de un abstracto."' El Heraldo de Mixico, September ---. "On Art." lntercambio, August 1, 1963, 85-87. 5, 1977. ---. "Precise Beauty on Show." The News (Mexico City), September 25, 1977, "Gunther Gerzso: Mi obra no es abstracta." Excilsior, February 4, 1985, 3. ---. "A Salute to Euclid." The News (Mexico City), December 31, 1977. "Gunther Gerzso: Un pintor inspirado en el arte precolombino." El Diario, ---. "A Salute to Gunther Gerzso." The News (Mexico City), December 31, January 30, 1981. 1978. "Gunther Gerzso's 80th Birthday Show." Mam/FA 5, no. 1 (1996). ---. "Seeing is Believing." The News (Mexico City), November 18, 1972. Hachem, Samir. "Under the Volcano." American Cinematographer, October 1984, ---. "Special Exhibits Mark Olympics Season." The News (Mexico City), 58-63. October 13, 1968. Hale, Douglas. "Gerz.so: Tour without a Guide." Arizona Republic, February 8, 1970. ---. "Ta.pies-Tracks in Time." The News (Mexico City), August 25, 1974. Hanley, Elizabeth C. "Gunther Gerzso." ARTnews, October 1984, 185. ---. "To Be or Not to Be-Abstract." The News (Mexico City), November 25, Harithas, James. "Phoenix Art Museum Shows Point Trends in Mexican Art 1972. Today." Th, Art Ga/lay 8, no. 5 (1965). ---. "The White Russian Artist." The News (Mexico City), February 8, 1981. Herrera, Mario. "La obra de Gunther Gerzso tiene un perfecto equilibrio." El Jurado, Jose Manuel. "Compra el gobierno la Pinacoteca Carrillo Gil, 225 pin­ Norte, April 3, 1981, 6. turas, dibujos y el edificio en que est.in." Excelsior, June 13, 1972. Herrera Gonzalez, Andrea. "Gunther Gerzso y su pintura, gr.ifica y dibujo, de Jurgen-Fischer, Klaus. "Pintura abstracta en Mexico: Gunther Gerzso." Artes 1949-1993." Novedades, February 4, 1994, 1. Vimal« 2 (1974), 5-7. "Houston Exhibit Highlights 18 Leading Mexican Artists." News Weekly (Hous­ Kaplan, Janet A. Remedios Va:ro: Unexpected Journeys. New York: Abbeville, 2000. ton), April 1, 1956. Karrofel, Graciela. "Gunther Gerzso: Una conversaci0n que vale la pena leer, una Huerta, David, ed. Gunther Gerzso: Homenaje a la linea recta: Quince esculturas en pintura que vale la pena ver." Vogue Mixico edici6n especial: Homenaje al cine bronce/Poemas de David Huerta. Mexico City: Impronta Editores, 2001. mexicano, November 1987, 186-88. Huffschmid, Ann. "Soy un europeo con ojos mexicanos; un voyeur, dice Gunther Katzew, Ilona. "Gunther Gerzso." Art Nexus, January-March 1996, 123-24. Gerzso." La]ornada, February 2, 1994, 25. Klain, Ana, and Nora Muntanola. "Un estilo que oscila entre la metafl:sica y la Idalia, Maria. "'Lecciones de mirada que ve,' la obra artfstica de Gerzso." Exdlsior, abstracci6n." Va:nidades, October 31, 1978. May 28, 1990. Krauze, Helen. "Espejo." Novedades, November 29, 1966, Illescas, Manuel, and Hector Fanghanel. "Mi obra no es abstracta." Excilsior, "La ciudad de Mexico interprerada por sus pintores." Excilsior, 1949. February 4, 1985. "La iniciativa privada al servicio de! arte." El Sol de Cuautla, March 4, 1979. "Impresiones." ElAlcaravdn 4, no. 14 (1993): 41. "La onda recomienda." Novedades, April 9, 1978, 7-8. "Inauguraci6n a cargo de Castafieda, Solana y Flores de la Pefia: La exposici6n "La pintura surrealista en Mexico." Mixico en el Arte 7 (1984). 'Mexico Ayer y Hoy' estar.i en el Petit Palais de Francia, desde hoy." Exdlsior, "La subasta de! afio." Harper's Bazaar, July 1995, 82-85. November 12, 1981. "La vida cultural." Cuadernos de Bellas Artes4, no. 10 (1962): 113-30. "lnauguraci6n ayer. Una exposici6n de Gerzso." Cine Mundia/., March 20, 1970. "La vida cultural en el INBA. Artes Pl.isticas: Gunther Gerzso." Revista de Bellas lnstituto Nacional de Bellas Artes, Departamento de Artes Pl:isticas. Catdlogo ge­ Artes, May-June 1970, 99. neral del Museo Nacional de Arte Moderno Mixico. Mexico City: Instituto "Las deducciones." Novedades, September 6, 1977. Nacional de Bellas Artes, 1958. "Le Ve. FIAC au Grand Palais." Connaissance des Arts, October 1978. ---. Cien retratos por Daisy Ascher. 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314 I THE ART OF GUNTHER GERZSO "Los trabajos y las dfas: Muestra de pintura mexicana en Parfs." Unomdsuno, June "Mexican Artist's Abstract Painting on Exhibition Sunday at Museum." Scottsdale 11, 1983. Daily Progress, n.d., 1970. Loya, Alfonso. "Gunther Gerzso, paisajista abstracto." El HeraldfJ Cultural, March "Mexican Painting Show on in France." The News (Mexico City), July 18, 1980. 27, 1966. "Mexico: al otro !ado de la frontera." Harper's Bazaar Mexico, n.d., 1996. Loyola Dfaz, Rafael, and Universidad Nacional Aut6noma de Mexico, lnstituto de "Mexico City." Pictures on Exhibit 37, no. 4 (1974): 38-39. Investigaciones Sociales. Entre la guerra y la estabilidad politica: El Mexico de los "Mexique d'hier et d'aujourd'hui." Archeologie 160 (November 1981). 40. Mexico City: Grijalbo; Consejo Nacional para la Cultura y las Anes, 1990. Millan, Josefina. "Gerzso: Hay que redescubrir la emoci6n." Proceso, July 17, Lozano Fuentes, Jose Manuel. Historia delArte. 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"Hoy en dfa el artista parece no tener un papel espedfico en Economia contempordnea. Mexico City: Fonda de Cultura Econ6mica; Se­ su relaci6n con la sociedad: Gerzso." Unomdsuno, January 29, 1994, 25. cretaria de Programaci6n y Presupuesto, 1987. ---. "Lo que mas influye mis obras es lo que veo, soy un apasionado de la Malvido, Adriana. "Dice Gunther Gerzso: No se puede afirmar que el apoyo ofi­ observaci6n: Gunther Gerzso." Unomdsuno, January 30, 1994, 25. cial sea lo mas favorable para las artistas." Unomdsuno, December 7, 1980. Monsiviis, Carlos. "Perfil: Gunther Gen.so." Letras fibres 2, no. 18 (2000): 82-87. ---. "En Mexico las pintores no han logrado una uni6n de la que surja la "Monumental vitral de Gerzso seta colocado en el Aristos." Excilsior, May 24, autocrftica: Gerzso." Unomdsuno, December 6, 1980. 1968, 16. ---. "Noventa mil pesos, valor de cada ejemplar del libro 'Del arbol florido,' Morales de Villafranca, Leonor. 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Saturday Review, January I, Parke Bernet. 19th and 20th Century Mexican Paintings, Drawings, Sculpture, 1966, 52, 80. and Prints: Sale 4601M New York: Sotheby Parke Bernet, Inc., 1981. Westheim, Paul. "Gunther Gerzso. Una investigaci6n est6tica." Novedades, April "[Sale of painting: Ancient Wialls, 1958]." Sotheby Parke Bernet. Paintings, 8, 1956. Drawings, and Sculpture from the Collection of Mr. and Mrs. Leigh B. Block: ---. ''Arte abstracto, arte figurativo." Mtxico en la Cultura, n.d., 6. Sale 4615M New York: Sotheby Parke Bernet, Inc., 1981. Westheim, Paul, and Justino Fernandez. El retrato mexicano contempordneo. Mexico "[Sale of painting: Paisaje de Chiapas, 1977]." Sotheby Parke Bernet. 18th, 19th, City: Museo Nacional de Arte Moderno; lnstituto Nacional de Bellas Artes, 1961. and 20th Century Mexican Paintings, Drawings, Sculpture, and Prints: Sale White, Anthony. Frida Knhlo, Diego Riw,-a, and Mexican Modernism, Tk Jacques and 4887M New York: Sotheby Parke Bernet, Inc., 1982. Natasha Gelman Collection. Parkes Place, Canberra: National Gallery ofAustralia, 2001. "[Sale of paintings: Paisaje-azul-verde, 1975; Naranja-verde-azul 1979; Paisaje Williams, William Carlos. Veinte poemas. Translated by Octavio Paz. Mexico City: verde-azul- rojo, 1977; Verde y naranja, 1965. Sale of works on paper: Com­ Era, 1973. position, 1969; Composition, 1970]." Sotheby Parke Bernet. Important Latin Ximenez Estrada, Carlos. "Mexican Painter to Exhibit Works in Paris Show." The American Paintings, Drawings, and Sculpture, and Haitian Paintings: Sale 5246. News (Mexico City), September 30, 1982. New York: Sotheby Parke Bernet, Inc., 1984. Xirau, Ram6n. "Cardoza y Arag6n." Excelsior, January 19, 1976, 3. "[Sale of paintings: Tula, 1964; Paisaje de Tajin, 1964; Rojo, azuf y amarillo, 1966; ---. "Cardoza y Arag6n: Disolver las fronteras entre poesfa y critica." Excelsior, Paisaje, 1974; Azul verde, rojo, blanco, 1979. Sale of works on paper: Compo­ January 19, 1975. sition, 1969; Composition, 1970; Verde, azul blanco, rojo, 1979]." Sotheby Parke ---. "Exposiciones: Gunther Gerzso." Didlogos: Artes/Letras/Ciencias humanas Bernet. Important Latin American Paintings, Drawings, and Sculpture, and 3, no. 2 [15] (1967\ 22. Haitian Paintings: Sale 5334. New York: Sotheby Parke Bernet, Inc., 1985. ---. "Gunther Gerzso." Arquitecto, June 1977, 30---40. "[Sale of paintings: Paisaje-naranja-azul-verde, 1980; Diosa antigua, 1961. Sale of ---. "Gunther Gerzso." Didlogos: Artes/Letras/Ciencias humanas 13, no. 6 [68] works on paper: Azul-rojo-'Fem'-Variaci6n No. 14B; Verde-azul 1980]." (1977), 36-37. Christie, Manson, and Woods International. Latin American Paintings, Draw­ ---. "Presentad.n en varias ciudades de E. U. una muestra retrospectiva de ings, and Sculpture: Sale 5894. New York: Christie, Manson, and Woods Inter­ Gunther Gerzso." Excelsior, March 22, 1976. national, Inc., 1985. Young, Howard T. "Mexican Upheavel." New York Times, May 31, 1959, 21. "[Sale of paintings: Blanco, azul verde, 1966; Southern Queen, 1963]." Christie, Zacarias, Teresa F. "Gunther Gerzso, escen6grafo del cine mexicano." Cineteca Manson, and Woods International. Latin American Paintings, Drawings, and Nacional11, no. 126 (1994): 12-13. Sculpture: Sale 6032. New York: Christie, Manson, and Woods International, Zanink, lvo. ''Artes plasticas: Gerzso." Folha de Siio Paulo, August 25, 1965. Inc., 1985. "[Sale of painting: Verde, azul blanco, rojo, 1976]." Christie, Manson, and Woods International. Latin American Paintings, Drawings, and Sculpture: Sale 6138. AUCTIONS (CHRONOLOGICAL) New York: Christie, Manson, and Woods International, Inc., 1986. "[Sale of painting: El sol negro, 1954]." Sotheby Parke Bernet. Latin American Art: "[Sale of paintings: Los Dias de la calle Gabino Barreda, 1944; Pueblo]." Sotheby Sale 5459. New York: Sotheby Parke Bernet, Inc., 1986. Parke Bernet. Modern Mexican Paintings, Drawings, Sculpture, and Prints. New "[Sale of painting: Red Intruding, 1964]." Christie, Manson, and Woods Inter­ York: Sotheby Parke Bernet, Inc., 1977. national. Latin Amercan Paintings, Drawings, and Sculpture: Sale 6394. New "[Sale of paintings: El Mago, 1948; Paisaje Amarillo, 1965; Morada (Abode), 1964. York: Christie, Manson, and Woods International, Inc., 1987. Sale oflithogrnphsc T-4, 1974; Mujer de la jung/a, 1974, s;m;4 1977]." Sotheby "[Sale of painting: Campo dual, 1985]." Christie, Manson, and Woods Interna­ Parke Bernet. Modern Mexican Paintings, Drawings, Sculpture, and Prints: Sale tional. Latin American Paintings, Drawings, and Sculpture: Sale 6496. New 4105. New York: Sotheby Parke Bernet, Inc, 1978. York: Christie, Manson, and Woods International, Inc., 1987. "(Sale of paintings: Pueblo; Teocali, 1949; Untitled, 1959; Variaci6n No. 2; Paisaje­ "[Sale of work on paper: Landscape in Green and Grey, 1967]." Sotheby Parke Ber­ verde-amarillo-azul-rojo, 1973; Verde-azul-amarillo-rojo, 197 4]." Sotheby net. Latin American Art: Sale 5580. New York: Sotheby Parke Bernet, Inc., 1987. Parke Bernet. 19th and 20th Century Mexican Paintings, Drawings, Sculpture, "[Sale of sculpture: Yaxchildn, 1988. Sale of painting: Tula, 1964]." Sotheby Parke and Prints: Sale 4245. New York: Sotheby Parke Bernet, Inc., 1979. Bernet. Latin American Art: Sale 5856. New York: Sotheby Parke Bernet, Inc., 1989. "[Sale of paintings: Metaphysical Landscape, 1959; Paisaje, 1958; Paisaje de! mafiana, "[Sale of painting: Azul amarilfo, blanco, 1969. Sale of works on paper: Naranja, 1959; Avi/,a negra, 1961; Paisaje legendario, 1964; Ritual de la primavera, 1964; azul rojo, verde, 1973; Paisaje, 1969]." Sotheby Parke Bernet. Latin American Verde-azul-amarillo, 1968; Rojo-amarillo-verde, 1970. Sale oflithographs: Helena, Art: Sale 6103. New York: Sotheby Parke Bernet, Inc., 1990. 1961; Piasaje en azul 1967; Rojo-amarillo-azul-naranjo, 1973]." Sotheby Parke "[Sale of paintings: Abstracci6n en azul 1959; Composition No. 5, 1958]." Sotheby Bernet. 19th and 20th Century Mexican Paintings, Drawing, Sculpture, and Prints: Parke Bernet. Important Latin American Paintings, Drawings, and Sculpture: Safe 4373. New York: Sotheby Park Bernet, Inc., 1980. Safe 7456 New York: Sotheby Parke Bernet, Inc., 1992. "[Sale of painting: Paisaje, 1965. Sale of sculpture: Tataniuh, 1978]." Sotheby "[Sale of painting: Naranja, azul verde, 1979]." Sotheby Parke Bernet. Latin Amer­ Parke Bernet. 19th and 20th Century Mexican Paintings, Drawings, Sculpture, ican Paintings, Drawings, Sculpture, and Prints: Sale 6367. New York: Sotheby and Prints: Sale 4459M. New York: Sotheby Parke Bernet, Inc., 1980. Parke Bernet, Inc., 1992. "[Sale of silkscreen: Si mil 1977]." Sotheby Parke Bernet. Modern and Colonial "[Sale of paintings: Azul-verde, 1970; Untitled, 1962. Sale of work on paper: Puen­ Latin American Paintings, Drawings, Sculpture, and Prints: Sale 759. New te dos, 1972]." Christie, Manson, and Woods International. Important Latin York: Sotheby Parke Bernet, Inc., 1980. American Paintings, Drawings, Sculpture, and Prints: Sale 7886. New York: "[Sale of paintings: La ciudad y el sol 1957; Volcdn, 1955. Sale of lithographs: Christie, Manson, and Woods International, Inc., 1993.

318 I THE ART OF GUNTHER GERZSO "[Sale of paintings: Mitologia, 1961; Rojo, azul, amarillo, negro, 1973]." Sotheby EXHIBITIONS Parke Bernet. Latin American Paintings, Drawings, Sculpture, and Prints: Sale 6501. New York: Sotheby Parke Bernet, Inc., 1993. SOLO EXHIBITIONS "[Sale of paintings: Casa de jade, 1954; Tierra verde, 1965]." Sotheby Parke Bernet. Latin American Art, Part I: Sale 6779. New York: Sotheby Parke Bernet, Inc., 1995. 1950 Gunther Gerzso, Galerfa de Arte Mexicano, Mexico City.* "[Sale of paintings: Rojo, azul, naranja, 1970; Verde, ocre, amarillo, 1969; Verde, 1954 Gunther Gerzso, Galerfa de Arte Mexicano, Mexico City.* azul, b!anco, naranja, 1984]." Sotheby Parke Bernet. Latin American Art, Part 1956 Gunther Gerzso, Galerfa de Antonio Souza, Mexico City.* If· Sale 6780. New York: Sotheby Parke Bernet, Inc., 1995. 1960 Gunther Gerzso, Galerfa de Antonio Souza, Mexico City. "[Sale of painting: Paisaje, 1957]." Sotheby Parke Bernet. Latin American Paint­ 1961 Gerzso: 6leos 1961, Galerfa de Antonio Souza, Mexico City.* ings, Drawings, Sculpture, and Prints, Part I· Sale 6704. New York: Sotheby The Sixth International Art Exhibition ofJapan, Tokyo Metropolitan Parke Bernet, Inc., 1995. Art Museum, Japan.* "[Sale of paintings: Azul, amarillo, rojo, 1969; Verde, azul, blanco, rojo, 1976]." Gunther Gerzso, Galerfa de Antonio Souza, Mexico City Sotheby Parke Bernet. Latin American Paintings, Drawings, Sculpture, and El retrato mexicano contempordneo, Museo Nacional de Arte Moderno, Prints, Part II· Sale 6705. New York: Sotheby Parke Bernet, Inc., 1995. Mexico City. "[Sale of paintings: Las monjas, 1949; Aigle, 1947; Greek Landscape, 1959; Rojo, 1963 Gunther Gerzso: Exposici6n retrospectiva, Museo Nacional de Arte azul, verd{!, 1973; Azul, naranja, verde, 1979]." Sotheby Parke Bernet. Latin Moderno, Instituto Nacional de Bellas Artes, Mexico City.* American Art: Sale 6922. New York: Sotheby Parke Bernet, Inc., 1996. 1967 Exposici6n 15 obras de Gunther Gerzso, lnstituto Cultural Mexicano "[Sale of paintings: PasageArchai'que, 1964; Naranja, verde, azul, 1980; Sin tftulo, Israeli, Mexico City.* 1955]." Sotheby Parke Bernet. Latin American Art: Sale 6997. New York: So­ Gunther Gerzso, FIAC (Faire Internationale d'Art Contemporaine), theby Parke Bernet, Inc., 1997. Grand Palais, Paris. "[Sale of painting: Agora, 1974. Sale of sculpture: Semblantes, 1994]." Sotheby Parke 1970 Twenty Years ofGunther Gerzso, Phoenix Art Museum, Arizona.* Bernet. Latin American Art: Sale 7322. New York: Sotheby Parke Bernet, Inc., 1999. Gunther Gerzso: Pinturas!dibujos, Galerfa de Exposiciones Temporales, "[Sale of painting: Red Intruding, 1964]." Sotheby Parke Bernet. Latin American Museo de Arte Moderno, Instituto Nacional de Bellas Artes, Art: Sale 7392. New York: Sotheby Parke Bernet, Inc., 1999. Mexico City.* "[Sale of paintings: Paisaje rojo, 1958; Composici6n No. 5, 1957; Tihuanacu Revisited, 1976 Gunther Gerzso: Paintings and Graphics Reviewed, University of Texas 1950; Paisaje, 1958. Sale of sculpture: Yaxchildn, 1988]." Sotheby Parke Bernet. Art Museum, Austin.* Latin American Art: Sale 7485. New York: Sotheby Parke Bernet, Inc., 2000. 1977 60 obras de! gran pintor mexicano Gunther Gerzso, Museo de Arte "[Sale of painting: Semblantes, 1994]." Sotheby Parke Bernet. Latin American Art: Moderno, Instituto Nacional de Bellas Artes, Mexico City.* Sale 7559. New York: Sotheby Parke Bernet, Inc., 2000. 1981 Exposici6n retrospectiva de Gunther Gerzso, Museo de Monterrey, "[Sale of sculpture: Yaxchildn, 1988]." Sotheby Parke Bernet. Latin American Art: Mexico.* Sale 7735. New York: Sotheby Parke Bernet, Inc., 2001. Del Arbo! Florido: Gunther Gerzso, 14 serigraftas, Galer.fa Arvil, "[Sale of paintings: Amarillo-verde-azul, 1974; Homenaje a la primavera, 1958]." Mexico City. Christie, Manson, and Woods International. Latin American Art: Spring Sale. Gunther Gerzso: 14 serigraphies sur !es poesies Nahuatl de l'Arbre Fleuri, New York: Christie, Manson, and Woods International, Inc., 2001. Centre Cultural du Mexique, Paris.* "[Sale of painting: La ciudadela, 1949]." Sotheby Parke Bernet. Latin American 1982 Gunther Gerzso: One Man Show, FIAC (Faire Internationale d'Art Art: Spring Sale. New York: New York: Sotheby Parke Bernet, Inc., 2001. Contemporaine) Paris. "[Sale of sculpture: Semblantes, 1994]." Christie, Manson, and Woods Inter­ 1984 Gerzso: La centella glacial, un didlogo pldstico en la ciudad de Mexico, national. Latin American Art: Fall Sale. New York: Christie, Manson, and Sala Ollin Yolizrli, Mexico City. Woods International, Inc., 2002. Gunther Gerzso Retrospective, Mary-Anne Martin/Fine Art, New "[Sale of paintings: Legendary Landscape (Azul y naranja), 1964; Umbra!, 1964; Azul­ York. naranja-verde, 1967. Sale of sculpture: Semblantes, 1994]." Sotheby Parke Bernet. 1986 Gunther Gerzso, Museo de Arte Carrillo Gil, Mexico City. Latin American Art: Fall Sale. New York: Sotheby Parke Bernet, Inc., 2002. 1990 Gunther Gerzso: Esculturas, Oleos y presentaci6n de "Palabras Grabadas," "[Sale of painting: Blanco-amarillo-verde, 1973]." Christie, Manson, and Woods dlbum de 10 grabadas con poemas de Octavio Paz, Galerfa de Arte International. Latin American Art: Spring Sale. New York: Christie, Manson, Mexicano, Mexico City.* and Woods International, Inc., 2002. 1993 Gunther Gerzso: Pintura, grdfica, dibujo, 1949-1993, Museo de Arte "[Sale of paintings: Azul-naranja-verde, 1967; Blanco-amarillo-verde, 1973; Contempod.neo de Oaxaca, Mexico; Museo de Arte Carrillo Gil, Archaico, 1960]." Sotheby Parke Bernet. Latin American Art: Spring Sale. New Mexico City.* York: Sorheby Parke Bernet, Inc., 2002. 1995 Gunther Gerzso: Obra reciente, Galeria L6pez Quiroga, Mexico City. Gunther Gerzso 80th Birthday Show, Mary-Anne Martin/Fine Art, New York.* Gunther Gerzso: Prints and Sculpture, The Americas Society, New York. 1996 Gunther Gerzso: Hard-Edge Master, Latin American Masters, Los Angeles, California.* 2000 Gunther Gerzso, Galerfa de Arte Contempora!leo de Xalapa, Mexico. Gunther Gerzso: In His Memory, Mary-Anne Marcin/Fine Art, New York.* Gunther Gerzso: Una dicada, 1990-2000, Galerfa Lopez Quiroga, Mexico City.* 2003 Risking the Abstract: Mexican Modernism and the Art of Gunther Gerzso, Santa Barbara Museum of Art, California; Museo de Arte Moderno, Mexico City; Mexican Fine Arts Center Museum, Chicago.*

BIBLIOGRAPHY, EXHlBITIONS, FILMOGRAPHY, AND SCENOGRAPHY I 319 GROUP EXHIBITIONS 1969 Nuevas adquisiciones en el Museo de la Universidad de Puerto Rico, Museo de Arte Ponce y Museo de la Universidad de Puerto Rico, 1939 Annual Exhibition, Cleveland Museum of Art, Ohio. San Juan.* 1949 La ciudad de Mexico interpretada por sus pintores, Excelsior, Mexico City. 1970 Latin American Paintings and Drawings from the Collection ofJohn 1952 The 1952 Pittsburgh International Exhibition ofContemporary Painting, and Barbara Duncan, International Exhibition Foundation, Carnegie Institute, Pittsburgh.* Washington,D.C.* Contemporary American Painting, University of Illinois, Urbana.* 1972 Looking South: Latin American Art in New York Collections, Center for 1954 Permanent Collection, catalogue 2, Museu de Arte Moderno do Rio de Inter-American Relations, New York.* Janeiro, Brazil.* Colecci6n Carrillo Gil, Museo de Arte Moderno, INBA, Mexico City.* I 955 The Third International Art Exhibition ofJapan, Tokyo Metropolitan 1973 Exposici6n de diseifos para vestuario de teatro, Galerfa Arvil, Mexico Art Museum, Tokyo.* City. 1956 Gulf Caribbean Art Exhibition, Museum of Fine Arts, Houston, Texas. 1974 Contemporary Mexican Art, Museo de Arte Moderno, Mexico City.* 1957 The Fourth International Art Exhibition ofJapan, Tokyo Metropolitan Pintores de San Angel: Colectiva de invierno, Galerfa Kin, Mexico City. Art Museum, Tokyo.* Exposici6n permanente, Museo de Arte Alvar y Carmen T. de Carrillo Escenografia contempordnea mexicana, Museo del Palacio de Bellas Gil, INBA, Mexico City. Artes, Museo Nacional de Arte, Mexico City. Exposici6n conmemorativa en artes pldsticas, UNAM, Mexico City. 1958 Contemporary Mexican Painters, Martin Schweig Gallery, St. Louis, 1975 Cinco a'fios de artes pldsticas en Mexico, Patronato Cultural Infonavit, Missouri. Mexico City. Primera Bienal interamericana de pintura y grabado: Exposiciones paralelas, 12 Latin American Artists Today, University of Texas, Austin. Instituto Nacional de Bellas Artes (INBA), Mexico City.* Contemporary Mexican Art, National Museum of Modern Art, Tokyo. 1958-59 Mexican Art: Pre-Columbian to Modern Times, University of Michigan, Muestra de obra grdfica, Galeria de Luz y Fuerza, Mexico City. Ann Arbor.* 1976 Obra temprana de l.os grandes maestros, Galerfa Pintura Joven, Mexico City. 1959 Contemporary Mexican Painting, Fort Worth Art Center, Texas.* Creadores latinoamericanos contempordneos, 1950---1976· Pinturas y Pintura mexicana, Museo de la Ciudad Universitaria, Universidad relieves, Museo de Arte Moderno, INBA, Mexico City.* Nacional Aut6noma de Mexico (UNAM), Mexico City. El geometrismo mexicano: Una tendencia actual, Museo de Arte Peintures et sculptures mexicains, Musee National Bez.ale!, Jerusalem, Israel.* Moderno, INBA, Mexico City.* 1960 11 annual de pintura, Centro Ardstico, Barranquilla, Colombia.* 1977 Exhibition ofMexican Art, Canning House, London.* 1961 The Sixth International Art Exhibition ofJapan, Tokyo Metropolitan Pintura y escultura contempordnea, Club Campestre de la Ciudad de Art Museum, Japan.* Mexico y la Asociaci6n Mexicana de Galerfas, Mexico City. El retrato mexicano contempordneo, Museo Nacional de Arte Moderno, Ediciones multiarte: Obra grdfica exclusiva, Galeria San Angel, Mexico Mexico City. City. Group Exhibition, Galerfa Juan Martin, Mexico City Recent Latin American Drawings, 1969-1976: Lines of Vision, 1962 Pintura mexicana del sigl.o XX, Galerfa de! Centenario, Museo Nacional International Exhibitions Foundation, Washington, D.C.* de Bellas Artes, Puebla, Mexico. Homenaje a la pintura latinoamericana, Patronato Pro-Culrura, San Group Exhibition, Galeria Juan Martin, Mexico City Salvador, El Salvador.* 1963 Group Exhibition, GalerfaJuan Martin, Mexico City 1978 FIAC '78: Art Contemporain Paris, Grande Palais, Paris.* 1964 El dibujo mexicano, INBA, Mexico City. Obra grdfica de 29 artistas, Museo de Bellas Artes de Caracas, Segundo festival pict6rico de Acapulco, Sociedad de Amigos Extranjeros Venezuela.* de Acapulco, Acapulco, Mexico; INBA, Mexico City.* Gunther Gerzso, Carlos Merida, Rufino Tamayo, Sal6n Nacional de Group Exhibition, Galeria Juan Martin, Mexico City. Artes Plasticas, INBA, Mexico City.* 1964-65 Contemporary Mexican Artists: Phoenix Art Museum, Phoenix Art Tane: Artelobjecto, Exposici6n arte objeto, 20 esculturas en plata, Museum, Arizona.* Museo de Arte Moderno, Mexico City.* Colectiva de invierno, Galeria de Artes Plisticas de la Ciudad de Lo introspectivo y lo abstracto: Cosmovisi6n de 7 artistas mexicanos, 16--21, Mexico, Las Pergolas, Mexico City. Universidad lberoamericano, Mexico City.* 1965 Actitudes pldsticas, Galerfa Universitaria Artistos, UNAM, Mexico City. 1979 Primer sal6n de obra grdfica original, Galeria de Arte Mexicano, VIII Bienal de Sii.o Paulo, Sao Paulo, Brazil.* Mexico City.* Mexico Past and Present, Birmingham Museum of Art, Alabama. 1980 Peintres contemporains du Mexique, Musee Picasso, Antibes, France.* I Pintores-Escultores, Galerfa de Arte Plasticas de la Ciudad de Mexico, 20 pintores contempordneos mexicanos, Casa de las Americas, Havana, Las Pergolas, Mexico City. Cuba.* Actualidad grdfica-panorama artistico: Obra grdfica internacional I 1966-67 Art ofLatin America since Independence, Yale University Art Gallery, New Haven, Connecticut; University ofTCxas, Austin. 1971-1979, Cart6n y Pape! de Mb:ico, Mexico City.* 1967 Surrealismo y arte fantdstico en Mexico, Galerfa Universitaria Aristos, 1981 Galeria Proteus, Julio de 1981, Galerfa Proteus, Mexico City.* UNAM, Mexico City. The Mexican Museum: A Joyful Tribute to Mexican Genius, Harcourts Pintura mexicana, Colecci6n Club de Industriales, Galerfa de Gallery, San Francisco.* Exposiciones Temporales del Museo de Arte Moderno, Mexico City. Mexique d'hier et d'aujourd'hui: Descouverte du Templo Mayor de 1967-68 Tendencias de! arte abstracto en Mb:ico, Museo Universitario de Ciencias Mexico artistes contemporains, Musee du Petit Palais, Paris.* y Arte, UN.AM, Mexico City. 1982 Grdfica contempordnea de Mexico, 1972-1982, 5 x 100, Banco Nacional 1968 Mexico 68: Programa cultural de las XIX Olimpiadas, Comite de Mexico, Mexico City.* Organizador de los juegos de la XIX Olimpiada; Galerfa de Arte Julio Castellanos, 1905-1947, Banco Nacional de Mexico; Pinacoteca Mexicano, Mexico City.* Marques de Jara! de Berrio, Mexico City.*

320 I THE ART OF GUNTHER GERZSO Mexican Image: Modern Art in Mexico from the Fifties to the Present, Tradition and Innovation: Painting, Architecture, and Music in Brazil, Rossi Gallery, Morristown, New Jersey.* Mexico, and Venezuela between 1950 and 1980, Museum of the 1983 Pintado en Mixico, Banco Exterior de Espafia, Madrid and Barcelona. Americas, Washington, D.C.* Modern Mexican Masters, Mixograffa Gallery, Los Angeles. Obras maestras de la colecci6n del Banco BCH, Banco BCH, Mexico City.* Ten Artists from the Galeria de Arte Mexicano, Mary-Anne Martin/ Mexican Painting: The Contemporary Masters, Iturralde Gallery, Los Fine Art, New York.* Angeles. Sal6n Nacional de Artes P!dsticas, lNBA, Mexico City.* Four Decades after the Muralists!Cuatro dicadas despuis def muralismo, 1984 Art Mexico: Pre-Columbian-20th Century!Mixico arte: Pre-colombino­ Kimberly Art Gallery, Washington, D.C. and Los Angeles." siglo veinte, Hope College, Holland, Michigan.* Tercera gran subasta de arte, Casino Militar, Mexico City.* 40 Artists ofthe Americas: A Collection ofGraphic Art from Latin America, Perspectives on the Present: Contemporary Painting of Latin America the Caribbean, and the United States of America, International and the Caribbean, Nagoya City Att Museum, Japan." Development Bank Staff Association Art Gallery, Washington, D.C.* 1992 22 Pintores mexicanos saluden a Israel, Galerfa Alberto Misrachi, 1985 Carpeta de obra grdfica, Galerfa de Arte Mexicano, Mexico City. Mexico City. 1986 Los surrealistas en Mixico, INBA, Mexico City." Doce maestros latinoamericanos, Galer.ia Lopez Quiroga, Mexico City.* 1987 18 Contemporary Mexican Artists, Kimbell Gallery of Art, Washington, La coleccirJn de pintura mexicana de Jacques y Natalia Gelman, Centro D.C." Cultural/Arte Contempor.ineo, Mexico City.* Thee artistas en San Angel, Centro Cultural San Angel, Mexico City. Arte iberoamericano contempordneo, Festival Internacional de las Artes 1987-88 The Woman and Surrealism, MusCe Cantonal des Beaux Arts, Lausanne, '92, Galerfa de Arte Moderno/Universidad de Guadalajara, Mexico. Switzerland. 1993 Das Blaue Haus: Die Welt Der Frida Kahlo/The Blue House: The World Imagen de Mixico: La aportacirJn de Mixico al arte def sigh XX, Schirn ofFrida Kah lo, Frankfurt and Houston, Schirn Kunsthalle Frankfurt; Kunsthalle Frankfurt, Germany." Museum of Fine Arts, Houston. 31 Latin American Artists: Works on Paper, Museo de! Organizaci6n Lateinamerika und der Surrealismus, Museum Bochum, Germany.* de las Estados Americanos, Washington, D.C. and Frederick, Mary­ Colectiva de fin de afio, Galerfa L6pez Quiroga, Mexico City." land; Museum of Contemporary Art, Los Angeles. 1994 Cuatro surrealistas latinoamericanos: Gunther Gerzso, Wilfredo Lam, Roberto 1988 Mixico nueve: Litograflas, New Mexico Museum of Fine Arts, Santa Matta, Fernando de Szyszlo, Galerfa L6pez Quiroga, Mexico City." Fe; Museo de Arte Moderno, Mexico City. Pintores en Mixico def Siglo XX, Colecci6n Musco de Arte Moderno, The Latin American Spirit: Art and Artists in the United States, 1920-70, Mexico City and Banco de la RepUblica, Biblioreca Luis Angel The Bronx Museum of the Arts, New York. Arango, Bogota, Colombia.* 31 Latin American Artists: Works on Paper, Museum ofContempora1y Mexico: A Landscape Revisted!Mb:ico: Una visirJn de su paisaje, Smithsonian Art, Los Angeles. Institution Traveling Exhibition Services; Mexican Cultural Institute, Ruptura, 1952-1965, Museo de Arte Carrillo Gil, Mexico City. Washington, D. C." Una panordmica def arte mexicano, Galeria Manolo Rivero, Merida, Uiria invencirJn: 50 obras en papel, Galerfa L6pez Quiroga, Mexico City.* Mexico. Escultura pequefto formato, Galeda de Arte Mexicano, Mexico City.* Contemporary Latin American Art, Kimbell Gallery of Art, Washington, XXII Festival Internacional Cervantino, Galerfa L6pez Quiroga, D.C." Mexico City.* 1989 Museo de Arte Moderno, 25 Afios 1964-1989, Musco de Arte Moderno, Jalisco: genio y maestria, Museo de Arte Contempor.ineo de Monterrey, Mexico City.* Mexico.* Pintura y obra en papel, Galerfa de Arte Contempor.ineo, Mexico City. Edward Weston, la mirada de la ruptura, Consejo Nacional para la Los amigos def maestro Fernando Gamboa, Museo de! Palacio de Bellas Cultura y las Artes; INBA; Museo Estudio Diego Rivera; Centro de Artes, Mexico City. la Imagen, Mexico City.* Seis pintores mexicanos, Galeria Jorge Mara, Buenos Aires. 1995-96 Point /Counter Point: Two Views of20th-Century Latin American Art, Autorretrato, Galerfa Lopez Quiroga, Mexico City. Santa Barbara Museum of Art, California.* 1990 lmdgenes para los nifios, Children's Museum ofManhatten, New York. 1996 Frida Ka.hlo, Diego Rivera, and Mexican Modernism: From the Jacques Mexican Painting, 1950-1980, IBM Gallery of Science and Art, New and Natasha Gelman Collection, San Francisco Musewn of Art, York. California.* A New Antiquity ofFonn, Mary-Anne Martin/Fine Art, New York. Latin Viewpoints into the Mainstream, Nassau County Art Museum, Paralelismos, Centro Cultural/Arte Contempor.ineo, Mexico City. New York." Twentieth-Century Mexican Art, Vorpal Gallery, New York and San 1997 Passione per la vite: La rivoluzione dell'arte messicana nel XX secolo, Francisco. Castel dell'Ovo, Naples, Italy. El surrealismo entre Viejo y Nuevo Mundo, Fundaci6n Cultural Mapfre 1999 Peintre moderne au Mexique: Collection Jacques et Natasha Gelman, Vida, Madrid.* Societe nouvelle Adam Biro, Paris.* Un panorama def arte mexicano/A Panorama ofMexican Art, lnstituto Arte Mexicano: ColeccirJn Jacques y Natasha Gelman, Fundaci6n Proa, Cultural Mexicano/Mexican Cultural Institute, Washington, D.C." Buenos Aires; Arte Viva, Rio de Janeiro; Fundaci6n Pedro Barrie de Mexican Painting/Pintura mexicana, 1950-1980, INBA, Mexico City.* la Maza, Madrid." Octavio Paz: Los privilegios de la vista, Centro Cultural/Arte Contem- Three Generations of Mexican Masters, Mexican Cultural Institute, por.ineo, Mexico City.* Washington, D.C.* 1990-91 ColeccirJn pago en especie def Secretaria de Hacienda y Credito PUblico, Libertad en bronce, Paseo de la Reforma, Mexico City. 1990-1991, Secretarfa de Hacienda y Credito PUblico, Mexico City.* Homenaje al ldpiz, Musco Jose Luis Cuevas, Mexico City. 1991 Gran subasta de arte, Galerfa de! Centro Asturiano de Mexico, Mexico Mexico eterno: Arte y permanencia, Museo de! Palacio de Bellas Attes, City." Mexico City.

BIBLIOGRAPHY, EXHIBITIONS, FILMOGRAPHY, AND SCENOGRAPHY 321 Vistas y conceptos: Aproximaciones al paisaje, Museo de Arte Moderno, Si yo faera diputado, Miguel M. Delgado. Mexico City. El cardenal, Miguel M. Delgado. 1999 Surrealistas en el exilio y Los inicios de la escuela de Nueva York, Musco La ausente, Julio Bracho. Nacional Centro de Arte Reina Sofia, Madrid. 1952 La bestia magnifica, Chana Urueta. 2000 Modernism in the Americas: A Dialogue among the International Avant­ El bruto, Luis Bufiuel. Gardes, Santa Barbara Museum of Art, California. El Ultimo round, Alejandro Galindo. Una conste!aci6n de noches, Galer/a L6pez Quiroga, Mexico City.* Sor Alegria, Tito Davison. Frida Kahlo, Diego Rivera and Twentieth-Century Mexican Art: The B senor fot6grafo, Miguel M. Delgado. Jacques and Natasha Gelman Collection, Museum of Contemporary 1953 El monstruo resucitado, Chana Urueta. Art, San Diego, California.* Los orgullosos, Yves Allegret. From Azaceta to ZUiiiga: 20th-Century Latin American Art, Sama La ladrona, Emilio G6mez Muriel. Barbara Museum of Art, California. El valor de vivir, Tito Davison. 2001 Frida Kahlo, Diego Rivera and Mexican Modernism: The Jacques and Natasha Caballero a la medida, Miguel M. Delgado. Gelman Collection, National Gallery of Australia, Canberra, 2001.* Sombrero, Norman Foster. 2002-03 Siqueiros Plus!, Santa Barbara Museum of Art, California. La duda, Alejandro Galindo. 1954 La gitana blanca, Miguel M. Delgado. • "';ce bibliography for accompanying exhibition catalogue or brochure El rio y la muerte, Luis Bufiuel. La bruja, Chana Urueta. FILMOGRAPHY Al son def Charleston, Jaime Salvador. Estoy tan enamorada, Jaime Salvador. 1943 Santa, Norman Foster. ... i Y maiiana serdn mujeresi, Alejandro Galindo. 1945 Corazones de Mtxico, Roberto Gavaldon. La sombra de Cruz Diablo, Vicente Orona. La morena de mi copla, Fernando A. Rivero. Historia de un marido injie!., Alejandro Galindo. Campe6n sin corona, Alejandro Galindo Abajo el tel6n, Miguel M. Delgado. 1946 El ahijado de la muerte, Norman Foster. A los cuatro vientos, Adolfo Fernandez Bustamente. Su Ultima aventura, Gilberto Martinez Solares. A Lift in the Balance, Harry Horner. La otra, Roberto GavaldOn. 1955 El rry de Mtxico, Rafael BaledOn. Los que volvieron, Alejandro Galindo. Tres melodias de amor, Alejandro Galindo. Todo un caballero, Miguel M. Delgado. Historia de un amor, Roberto Gavaldon. A la sombra def puente, Roberto Gavaldon. Bailando cha cha cha, Jaime Salvador. 1947 Hermosa ideal, Alejando Galindo. La escondida, Roberto GavaldOn. El casado casa quiere, Gilberto Martinez Solares. Mi desconocida esposa, Alberto Gout. Mystery in Mexico, Robert Wise. Pemi6n de artistas, Adolfo Fernandez Bustamante. 1948 El supersabio, Miguel M. Delgado. Hora y media de balazos, Alejandro Galindo. jEsquina bajan!, Alejandro Galindo. Bambalinas, Tulia Demicheli. El mago, Miguel M. Delgado. 1956 ;Que seas felizi, Julian Soler. Una familia de tantas, Alejandro Galindo. Policias y ladrones, Alejandro Galindo. Hay lugar para ... dos, Alejandro Galindo. TU y la mentira, Alejandro Galindo. 1949 Confidencias de un ruletero, Alejandro Galindo. El bolero de Raquel., Miguel M. Delgado. Puerta, }oven, Miguel M. Delgado. Ladr6n de caddveres, Fernando Mendez. La posesi6n, Julio Bracho. El rat6n, Chana Urueta. Cuatro contra el mundo, Alejandro Galindo. Cuando Mixico canta, Julian Soler. TU, solo, tu, Miguel M. Delgado. Esposa te doy, Alejandro Galindo. Bodas de fuego, Marco Aurelio Galindo. Cielito lindo, Miguel M. Delgado. Las joyas def pecado, Alfredo B. Crevenna. 1957 La mafia def crimen, Julio Bracho. 1950 Un dia de vida, Emilio Fernandez. Tres desgraciados con suerte, Jaime Salvador. Rosaura Castro, Robert GavaldOn. ;Ay ... calypso, no te rajes.', Jaime Salvador. Capitdn de rurales, Alejandro Galindo. Te vi en T. V., Alejandro Galindo. El siete machos, Miguel M. Delgado. Los mujeriegos, Jaime Salvador. Susana, Luis Bufiuel. Cuatro copas, Tulia Demicheli. Entre tu amor y el cielo, Emilio GOmez Muriel. El vampiro, Fernando MCndez. Menores de edad, Miguel M. Delgado. Manicomio, Jose Diaz Morales. .El papelerito, Miguel M. Delgado. Manos arriba, Alejandro Galindo . Camino def infierno, Miguel Morayta. Desnudate Lucrecia, T ulio Demicheli. Dona Perfecta, Alejandro Galindo. El superflaco, Miguel M. Delgado. El bombero at6mico, Miguel M. Delgado. Pistolas de oro, Miguel M. Delgado. 1951 Una mujer sin amor, Luis Bufiuel. Una golfa, Tulia Demicheli. Dicen que soy comunista, Alejandro Galindo. Misterios de la magia, Miguel M. Delgado. Cdrcel de mujeres, Miguel M. Delgado. El ataUd de! vampiro, Fernando Mendez. Ella y yo, Miguel M. Delgado. El castillo de los monstruos, Julian Soler.

322 THE ART OF GUNTHER GERZSO 1958 Sabrds que te quiero, Tito Davison. Palacio de Bellas Artes (Mexico City) Raffles, Alejandro Galindo. La casa en ruinas La edad de la tentaci6n, Alejandro Galindo. 1937-38 Season: The Cleveland Play House (Ohio) Mi nifio, mi caballo y yo, Miguel M. Delgado. The Devil's Moon El hombre que me gusta, Tulia Demicheli. The Other Haff Stone Misterios de ultratumba, Fernando Mendez. Noah Sube y baja, Miguel M. Delgado. The Green Bay Tree Los diablos def terror, Fernando Mendez. Excursion El grito de la muerte, Fernando Mendez. The Amazing Dr. Clitterhouse Sdbado negro, Miguel M. Delgado. Night ofJanuary 16th Mixico nunca duerme, Alejandro Galindo. George and Margaret 1959 Sonatas, Juan Antonio Bardem. Judgement Day Elias tambiin son rebeldes, Alejandro Galindo. The Children's Hour Pufios de roca, Rafael Baled6n. French without Tears El Gato, Miguel M. Delgado. Pennywise Los resbalosos, Miguel M. Delgado. The Comedy ofErrors 1960 C6micos y canciones, Fernando Cortes. 1938-39 Season: The Cleveland Play House (Ohio) Caperucita y sus tres amigos, Roberto Rodriguez. The Star~ Wagon Pepe, George Sidney. The Astonished Heart El Buena Suerte, Rogelio A. Gonzalez. On the Rocks Paloma brava, Rogelio A. Gonzalez. My Darling Daughter Amorcito coraz6n, Rogelio A. Gonzalez. Volpone El aviador Jen6meno, Fernando Cortes. Liliom El bronco Reynosa, Miguel M. Delgado. American Landscape En cada fi:ria un amor, Rogelio A. Gonzalez. She Stoops to Conquer El analfabeto, Miguel M. Delgado. OfMice and Men El jinete negro, Rogelio A. Gonzalez. Stop Thief La marca def muerto, Fernando Cortes. Bachelor Born 1961 Casi casados, Miguel M. Delgado. The Taming of the Shrew Se alqui!a marido, Miguel M. Delgado. 1939-40 Season: The Cleveland Play House (Ohio) J6venes y be/las, Fernando Cortes. The Gentle People La faria def ring, Tito Davison. Venus & Adolphus E'stoy casado ja ... ja .. . Miguel Delgado. Our Town 1962 Los forajidos, Fernando Cortes. Eight O'Clock Tuesday El extra, Miguel M. Delgado. The Two Orpham 1983 Under the Volcano, John Huston. The Rivals For Services Rendered What a Life SCENOGRAPHY Heaby Barbara White Oaks 1935-36 Season: The Cleveland Play House (Ohio) Twelfth Night As You Like It I Killed the Count Within the Gates 1940-41 Season: The Cleveland Play House (Ohio) Libel' Margin for Error Johnny Johnson The Ass and the Shadow The Shining Hour Middletown Mural Her Master's Voice Tbny Draws a Horse The Tempest Invitation to Murder 1936 Teatro Independencia (Monterrey, Mexico) 1950 Palacio de Bellas Artes (Mexico City) Nuestra Natacha The Little Foxes

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