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Artmaking from Mexico to China

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Artmaking from Mexico to China CONTENTS The Artist as Copyist The Painter Sees the World Concrete Abstract vs. The Geometry of Art and Life Twenty Centuries of Mexican Art The Ancient Maya The Saint Christopher of Santiago Tlatelolco Mexican Heri tage José Guadalupe Posada : Printmaker the Mexican People Portrait of Latin America Mexican Prints José Clemente Orozco X G Az c A avier uerrero, te rtist Rufino Tamayo Lola Cueto : The Tapestries The Cut- out Papers The Etchings The Lithographs of Alfredo Zalee Renaissance Revisited All-American — American Prints : 19 13 1947 Old Masters for Tomorrow Murals for Tomorrow 2 El c as M c 245 2 . Gre o ysti Eric Gill l c Art Its d Catho i , 'uan aries To the Editor of Liturgical Arts Reflections of an Occidental Painter h n Ink-P i t A t L n C i ese a n ing, f er ooki g at the Works of Tseng Yu -Ho Renaissance in Haiti List of First Publishers ILLUSTRATIONS PA GE Frontispiece - H Bru h n ink A s a d . o Tseng Yu o z Riverscape . tual size . Albrecht Durer : Illustration to the Treatise on M m W dcut 1 525 . i r . oo eta l ac easu e ents , D , h k rom Ma Matila G y a : Logarithmic spiral . F f tila Gh ka G m r Art and L . y , The eo et y of i e M i Gh ka : t m c an at la y The Par henon, Har oni H m id e r m Matila Gh ka a b . o alysis ( g ) F y , The Geometry of Art and Life . m c Diego Rivera : Tehuantepec arket pla e . i Litho ra h. etail actual s ze. g p D , m re- c Aztec God : Tlaloc . Detail fro a p Hispani m H rbert inden Intro du c c d . ro e o ex F Sp , Ex osition o tion to American Indian Art. p f 981 Tribal Arts, Inc . , 1 . r m S 10 Xultun m . o tele , , Peten, Guate ala F M rle Anc M . o S . G y, The ient aya ” Mural aintin in the Saint Christopher . P g A hurch o antia o Tlatelolco Mexico . C f S g , p 1 61 0 irc . 4 in hei ht. a proximately 4 ft. g C Inscription relating to the restoration of the m m sa e ural in 1763 . “ d d : Ar P r Gua alupe Posa a tisans in urgato y . Metal cut G d d : P e ie ua alupe Posa a The risoner. R l f etchin g . G d d : f Re ua alupe Posa a Skull o a Coquette . lief etching . d P ad : x M u etal c t. Gua alupe os a Don 'ui ote . “ d M d z : L b M in W ood Leopol o en e a or eet g . cut tail a tua i h . e c l s ze. ourtes o T e D , C y f Metro olitan Museum o Art p f . “ L dr i m The ine awing after a rel gious i age, Man S r d b of o rows , a lithograph printe y X M XI th centur . ri inal in The urguia . y O g A Metropolitan Museum of rt . “ L d in L d tud ine raw g after Our a y of Soli e , an XVIIIth centur . etching signed by Garcia. y Original in The Metropolitan Museum of Art. ’ Woodcut illustrating Fernandez de Lizardi s M N 24 A . l de lo s o 1 18 . ctua Dialogos uertos , , e ri inal in the New Yor ublic Li siz . O g k P brary . Lith José Clemente Orozco : The Flag . o l actual si e . ollection ra h 1 928 . etai z g p , D , C of the Honolulu Academy of Art. ‘ — Brush José Clemente Orozco : Self portrait . 6 and ink, circa 1 91 . P A GE l Brush and José Clemente Orozco : Schoo girl. r ink, ci ca 1 91 0 . “ I di t Ink raw Xavier Guerrero . n an Cour esy . D ing . “ ” Rufino m : G di . Woodcut Ta ayo irl Stan ng , he al r New circa 1 930 . Courtes We le y y G y, York. Lola Cueto : Design for a tapestry after a ar ind Ch tres w ow. L - ola Cueto : Cut out paper. L : c Etchin rst ola Cueto Puppet musi ian. g, fi b A ual state e ore a uatint. ct f q size. “ d Zalce : M iz A ith r r m Alfre o est a . l og aph f o h lbum Im de t e a Y c . etail ao agenes u atan D , tual size. Collection o W . tallin s olo f S S g , C rad in o Spr gs. A d Zalce : etail rom a litho ra h actual lfre o D f g p , llecti o size. o on W . Stallin s Colorado C f S g , Springs. “ C : L d resc Min Jean harlot avan eras . F o in istr o Education M 1 exico it . 923 y f , C y . hi d c S . K m XIXth cen el over iowa, Oklaho a . tur . aintin k olle y P g on s in. C ction of the United tates ational Museum Washin S N , g t . on D . C . Max W b . dcut 191 . Woo llee e er Figure 8 . Co tion o the Museum o Mo er Ar f f d n t, New York. A b Ed d I : I . Woodcut 1 934 Josef l ers ge , . ourtes o . B uman . e New Y n or . C y f I N , k P A GE etail o resco in Jean Charlot : Paratrooper . D f f ournalism Buildin Universit o eor ia J g, y f G g , 4 Athens eor ia 1 94 . , G g , ’ El Greco s signature . ” E c : c fix . Wood en ravin actual ri Gill Cru i g g, ourte o the N Y ub L size. C sy f ew ork P lic i brary ’ : Brush and Jean Charlot Veronica s Kerchief. k in , actual size . 263 “ 73 h : m Brush and ink. 2 Jean C arlot Holy Fa ily . - T Yu Ho z L d c e. Brush and ink ao seng an s ap , l i tua s ze. T u - Ho z A dia seng Y Prerequisites for painting . ram actual size. g , Tseng Yu - Ho : Portion of a horizontal scroll; ” A u i 2 - ct a s e. 90 1 River Landscape . l z V r A itian ma i dia ram 302 Anonymous : eve s Ha g c g . W odcut. Dieudonne Cédor: Crucifixion . o rom elden odman c i . 303 F S R , Renaissan e in Hait MEXICO CHINA THE T T Y T 1 . AR IS AS COP IS ’ There is a maxim of Delacroix s that has helped to lead astray many an artist, and that defines a great extent the shortcomings of many of our “ ” “ modem s : The artist should use nature as a dictionary . This representation of natural vision as a phenomenon which, if not actually to be despised, is nevertheless to be considered as a m n means only, has i bued many a pai ter with a disrespect for the world as we see it and an exaggerated admiration for the shapes and ’ fancies that dwell only in the artist s head . Yet u n in if, before using nat re as a spri gboard for r the n spi ation , painter would exami e and analyze t t he the na ure of his accessory, would perhaps , so as other masters have before him , become engrossed in his analysis and full of admiration for ul the results , that there wo d be no need to spring, that he could paint what he sees , and replace the sense of his own importance by a sense of awe before nature. The world we paint is a different one from ” the world we live in , for it is already a photo 2 graphic image inverted on the sensitized inner our coating of retina . So that this problem of translating a three - dimensional world into tw o i one d mensions is a theoretical , for the world we see is in reality already flattened on the con c of cave surfa e the inner eye . It is a world which lacks many of the proper of for its ties the real world, objects , though z recogni able, are deprived of the qualities we r know them to have in ou everyday life . A not sat painted chair is made to be upon , a fruit ' of icture of made pigment to be eaten , or a p a c n woman to be made love to . Whi h explai s the indifferenc e of a lot of people realistically in clined for this world of the artist in which their c senses find no meat . This lack of a tual useful ness of the subject matter in pictures is a handi c cap to an extent, but the obje t , emptied of the un meanings we know well , acquires new and expected ones . a The rtist deals mainly with the physical , for “ t as Poussin suggests , There is no painting wi h f out solid . He will tend to classi y the different objects in the world according to their shapes of and relations of shapes , with utter disregard established conventions : Thus when Velasquez went to Rome to paint the Pope , he first did a of color rinder portrait his negro g , to prove to His Holiness how well he would paint him .
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