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In 1920, at the National Preparatory School in Mexico City a series of experiments into the techniques of fresco painting blossomed into a full-blown mural movement that captured and held the American imagination for thirty years. Long before the names of the painters were famous as "revolutionary" artists, however, Mexican art had been in revolutionary ferment. The painters, despite their many individual differences, shared a common rich heritage which made possible the success of the mural movement.The creative outburst which culminated in the Mexican mural movement was dependent upon two oddly dissimilar precedents. The first was the formal academic training most of the painters received at the Academy of San Carlos, the government-supported art school. The second was their participation in a bloody revolution and their assessment of the struggle when peace was restored.

This article explores the difficulties I have experienced moving from Mexico City, the largest metropolitan area in Mexico, to a provincial capital in the center part of the country, the city of Aguascalientes. In order to do that, I present a short narrative of certain incidents that show how I have sorted out the journey in a search of developing a sense of belonging. This is an autoethnography exercise where I follow what Ellis (2004) calls narrative analysis, which "assumes that a good story itself is theoretical. . . . When people tell their stories, they employ analytic techniques to interpret their worlds" (pp. 195-196). I have also realized that, like Richardson and St. Pierre argue (2005), writing is a way of knowing because it was due to the introspection process I experienced as I was writing that I came to understand how much my story was mostly related to gender issues.

[spa] En este trabajo se investiga la "Poética del Pathos en la iconografía de la pintura mexicana del siglo XX". Uno de los motivos de dicha investigación ha sido la enorme expectación que se creó en México en la década de los años veinte del siglo XX frente al renacimiento artístico de la pintura mural y de caballete, creada bajo el patrocinio del Gobierno de México. El Ministro de Educación José Vasconcelos convocó a los pintores que se encontraban en Europa o Estados Unidos de Norteamérica, para decorar los edificios gubernamentales y dar sentido a la Revolución de 1910. Entre ellos Diego Rivera, David Alfaro Siqueiros y José Clemente Orozco que desde el principio destacaron por sus propuestas pictóricas, lo cual dio origen a una polémica en torno a las imágenes o iconos, signos y símbolos expuestos. Por primera vez se expresaba pictóricamente a los indígenas de una forma diferente; frente a las injusticias cometidas durante la Colonia, las fiestas populares, así como reivindicaciones sindicales o ideológicas desde el indigenismo hasta el marxismo dado la implicación de algunos pintores (Diego Rivera, David Alfaro Siqueiros), y sobretodo la reafirmación de la propia identidad a través del nacionalismo. Esto dio lugar a un renacimiento pictórico, hecho artístico que se conoce como La Escuela Mexicana de Pintura.La consecuencia de esta propuesta estética en el siglo XX ha sido la obra pictórica, así como el grabado de artistas tales como: Frida Kahlo, Rufino Tamayo, María Izquierdo, José Luís Cuevas, Juan Soriano, Rafael y Pedro Coronel, Jorge González Camarena, Lilia Carrillo, Francisco Toledo, Francisco Castro Leñero, Antonio Peláez, Nahum B. Zenil, Carlos Arriola, Alejandro Arango, Gabriel Macotela, Germán Venegas, Rafael Cauduro, Martha Pacheco, Alfredo Castañeda, Arturo Solari, Roberto Parodi, Dulce María Nuñez, Rocío Maldonado, Julio Galán, Marisa Lara, Arnaldo Cohen, Abraham Mauricio, Rodolfo Morales, Filemón Santiago, Ismael Vargas, Esteban Azamar, o Dalia Monroy por citar algunos de los más destacados y que en la actualidad continúa despertando admiración alcanzando cotas inimaginables en el mercado de arte, lo que ha hecho emerger mitos como el de Frida Kahlo. La investigación sobre el "Análisis de la Poética del Pathos en la iconografía de la Pintura Mexicana del siglo XX" está dividida en tres partes. En la primera se hace una aproximación a dicha poética a través de las teorías y el método que se usan como herramienta de investigación desde el punto de vista estético. En nuestro caso es el Método Iconológico, a partir de la Teoría del símbolo propuesta por Hegel y Cassirer hasta llegar a Abby Warburg el iniciador de la Iconología, la ciencia que estudia el significado de las imágenes o iconos y Edwin Panofski el creador de la Metodología Iconológica así como Esnest Gombrich entre otros por su implicación en el significado de la imagen. También se ha hecho una aproximación a la Semiótica tomando en cuenta a autores tales como Ferdinand de Saussure y Charles Peirce, así como las propuestas de Umberto Eco y la dificultad que comporta para la interpretación de la obra de arte. Finalmente se aplica en esta investigación el Método Iconológico con rigor metodológico.La segunda parte es una aproximación a los acontecimientos sociopolíticos y socioculturales de México, así como a la estética y plástica tanto precolombina como de la época de la Colonia hasta llegar al siglo XIX y XX. Estos últimos acontecimientos que han marcado profundamente la sensibilidad de los artistas se han plasmado en el muro o el lienzo, añadiendo reivindicaciones de actualidad como el feminismo o la homosexualidad, y un neomexicanismo como reafirmación de la propia identidad. La conclusión final es que los nuevos iconos mexicanos del siglo XX son producto del contexto sociocultural mexicano. ; [eng] This study examines the Poetic art of Pathos in the iconography of twentieth century Mexican painting. There arose in Mexico in the 1920's strong interest in the artistic renaissance encouraged by the Mexican government. Among the pioneers were Diego Rivera, David Alfaro Siqueiros and José Clemente Orozco, who stood out from the beginning for their proposals, which gave rise to the polemics surrounding the images or icons, signs and symbols they used. For the first time pre-Columbian ideas, the injustices committed during the colonization, popular fiestas and ethnicity were expressed in painting. They also expressed syndicalist or ideological demands, ranging from the indigenous peoples to Marxism, thanks to the involvement of certain painters (Diego Rivera, David Alfaro Siqueiros) and especially the reaffirmation of their own identity via nationalism. This led to a renaissance in painting which is known as the Mexican school of painting. This twentieth century proposal has led to the paintings and engravings of such artists as Frida Kahlo, Rufino Tamayo, María Izquierdo, José Luis Cuevas and Julio Galán, among many others. They continue to arouse admiration and their works are highly priced on the art market. The research is divided into three parts. In the first part we follow the Iconological Method, based on the theory of the symbol proposed by Hegel and Cassirer, down to Abby Warburg, the originator of Iconology and Erwin Panofski, the creator of the Iconological Method. We have also approached semiotics, taking into account authors like Ferdinand Saussure and Charles Peirce, together with the proposals of Umberto Eco and the difficulty entailed therein. Finally, we rigorously apply the Iconological Method to this research. In the second part we deal with the socio-political and socio-cultural context, together with the aesthetics of the pre-Columbian era and the time of colonization, until we reach the 19th and 20th centuries. These events, which have had a profound effect on the sensitivity of theartists, are expressed in the mural paintings. Among contemporary demands we find feminism or homosexuality, or neo-Mexicanism as a statement of identity The study concludes that the new Mexican icons of the 20th century are the product of the socio-cultural context of Mexico.

The Mexican-American War (1846-48) is often described as the first major war in US history inspired by the idea of Manifest Destiny. The significance of this war, however, has not been matched by a rigorous scrutiny of its representation in contemporary visual culture. This study hopes to contribute to filling this void through an iconological investigation of three American paintings made in the Düsseldorf Academy, by now canonized and perceived as ultimate visual treatments of the topic. The paper first discusses the war and the public debates surrounding it in the US, then turns to the visual scene and introduces how the war was portrayed in various art forms. Next, it touches upon the artistic milieu of the Düsseldorf Academy in preparation for the analysis of the three paintings to follow. The study argues that these images depart from the American tradition of depicting war through concrete battle scenes. Instead, they offer symbolic representations or allusions, approaching the war in terms of morality, political philosophy and its potential social and economic consequences, while also employing ambiguity to urge viewers to contemplate on the implications of the war. In the meanwhile, they seem to express little if any consideration for the impact of the war on Mexico, its culture, and people.

"Foundational Arts examines how the relationships between mural painting and missionary theater became a transcultural process for mass conversion of Native populations to Christianity. Schuessler studies the New World expressions of dramatic and plastic arts and how they became the tools of European friars to Christianize Native peoples and ultimately create a new literary and artistic tradition"--

In 1967, Paris hosted a grand Exposition Universelle. Exhibited in this fanfare were goods from all over the world, technological marvels, and France's best artists. The Exposition was a chance for France to prove its cultural hegemony. For, at that moment, it was struggling to prove its status as a global power. Napoleon III had conquered Mexico in 1864, establishing the Austrian Archduke Maximilian as the country's Emperor. Maximilian was essentially a puppet of the French empire, however, and his disposability quickly became clear as the European occupation weakened at the hands of the Mexican revolutionary Benito Juarez. Napoleon III, realizing the vulnerability of his troops, withdrew and abandoned Maximilian. At the Exposition's prize giving ceremony, Napoleon III received the news of his empire's failure. Juarez had captured Maximilian along with two loyal Mexican military generals, and had publically executed them. As the weeks following the event went by, various accounts and photographs of the execution began to trickle into France's periodicals, feeding the populace's outraged imagination. Manet's Execution of Maximilian attempts to perform many of the same functions as these photographs. The canvas is a curious hybrid of the traditional and the modern. Manet's Execution of Maximilian is essentially a history painting that attempts to carry the journalistic burden of the photograph.

Today's Mexico is presented through the experiences, opinions and adventures of hundreds of Mexicans from all walks of life: not politics, nor statistics, but the personality of a nation grafted onto deep, indigenous roots by a European invader that still was entwined in feudal customs and superstitions. This narration takes readers through Mexico City, through its suburbs rich and poor, into its ceremonies--Christian and pre-Christian--and on journeys with reformers, rebels, manipulators, workers. It unravels "The Imaginary State of Petroleo," explores the landed estates of northeastern Mexico and the deserts where ancient cave paintings mark lost cultures and where drug dealers have hidden landing strips. From Tarahumara villages in the northwest through Tijuana and life on the US-Mexican border, and from Baja and the cultivated coastal plains to the changing rhythms of Oaxaca, Chiapas and Yucatan, Stout brings Mexico to life

A palace for the people -- A patriotic sanctuary -- The womb of the patria