ART AND LITERATURE
The genius of the Mexican people has ever inclined to the artistic.
When one form of imaginative expression has been denied others have
been resorted to with greater force.
The preferred outlet for the native imagination has been architecture,
upon which but seldom has any ban been placed either by secular or
ecclesiastical authority. In the Spanish days there were occasions
when representatives of the crown refused permission to erect palaces
considered too sumptuous or colossal for private occupancy, but no
limit was ever placed upon the worthier ambition to erect great
churches as monuments of their gratitude to God for prosperity
conferred. So, to-day, Mexico inherits a very large number of wonderful
monuments. Many of these are decorated in beautiful detail with
both chisel and brush. Everywhere they present evidence that though
the general scheme of one may have been borrowed from or suggested
by architectural works of Spaniard or Moor, of Italian or Fleming,
of Roman or Greek, the native genius insisted upon its own mark.
There, is in fact, a Mexican style of architecture almost as truly
intrinsic as that of any original type. It is unfortunate that while
the names of European architects employed in the designing of some of
the most celebrated buildings are recorded there is usually no way of
identifying the native designers, builders, master masons, sculptors
and painters who left behind them this great wealth of embodied
imagination.
All the conditions favored the structural art. On one hand was the
great wealth of the crown, the church and the mine-owner, on the other
an abundance of material and of skilled labor. Even to-day there are
no more cunning stone workers in the world than are found among the
Mexican craftsmen.
The economic prostration following the wars for independence put a
stop to architectural progress, but the prosperity restored to the
country by the administration of General Diaz has led to a renewal of
construction and many notable buildings have been added while others
have been restored.
Next to architecture, the native art of which most evidences exist
is that of painting. Every condition stimulates this. Nature herself
has been lavish with scenic endowment--grand and gorgeous, tender
and delicate. All call for pictorial presentment. And the skies are
brilliantly wonderful and varied. So Mexico has naturally produced a
host of great landscape painters.
Others of romantic inclination have been stimulated by the great
military and religious pageantry of their country’s history and
episodes of this have been depicted with luxurious freedom. Nor has
portraiture been neglected. At the present time many painters of both
achievement and promise are flourishing. One of them, Gerardo Murillo,
is living in a cave on Popocatepetl, working to perpetuate the aspects
of this dying volcano.
Two of his pictures have been described by a local critic as follows:
“One large canvas, eight by six feet shows a splendid view of a bold
crag near the summit of the volcano, where the wind is blowing and
where the deep blue heavens give a tone to the snow, which is piled
smooth and deep in its unbroken mass fresh from the last storm.
“A picture somewhat smaller hangs in the studio of Mr. Murillo, in the
San Carlos Academy, which does not fail to attract the attention of all
who see it. It is the picture of a rugged precipitous scene over which
the snow of centuries is piled. The hour is twilight and the whole
scene is bathed in a deep blue light which is so realistic to any one
who has grown accustomed to the mountains.”
Francisco de P. Mendoza has turned to history for his inspiration
and has painted several pictures of notable battle scenes from the
campaigns of General Diaz. Thus he seeks to foster in those who see his
work that spirit of patriotism which is the spring of his own effort.
His chief canvases depict the battles of “The Second of April,” “The
Carbonera,” and “Miahuatlan.”
[Illustration: GALLERY IN THE MODERN SCHOOL OF PAINTING.]
Andres Rios has done some notable landscapes, but has received most
praise for his single figures and groups. “The Curate of San Angel” is
particularly noteworthy for skill in handling the light effects.
“Going to the Hospital” shows a suffering woman leaving her home with
the assistance of her mother and daughter while the husband and an
older daughter remain on the doorstep, he crouched, and she standing
and both showing the misery of their sorrow.
Daniel del Valle is another contemporary who is acquiring fame by
figure work, though not long graduated from the academy. He has entered
the field of ancient endeavor and devotes his work to the decorating
of churches and palaces. Visitors will find some of his best efforts in
the churches of Santa Maria la Redonda and Jesus Maria.
Leandro Isaguirre is one of the best fruits of the government system
of sending graduates of the national schools abroad for post-graduate
instruction.
[Illustration: “AN EPISODE OF A FIRE.” BY G. CARRASCO.]
Having learned what he could at the San Carlos Academy, this promising
young painter was sent at public expense to Europe for five years.
There he studied in the studios of the most noted instructors in
Spain, Italy, France, Holland and England. He made many copies of the
masterpieces in the principal galleries of the Old World. Since his
return he has settled down to work on native subjects, selected for
the most part from among the laboring classes. He has also depicted
many of the landscapes of high altitude where the effect of the lights
has usually baffled the visiting artist. Like some of the men who have
mastered this problem in the United States, after years of labor,
Isaguirre has had success even though he has remained faithful to oils,
while the Americans have been driven to water colors and pastelle to
get the clear effects that prevail a mile or more above the sea.
Herman Gedovius, though of German descent and name, is really a Mexican
and so entitled to mention among the modern painters of the country. He
was born in San Luis Potosi but received his art education in the Royal
Bavarian Academy at Munich. He devotes himself almost exclusively to
portraiture, though he has painted some ideal heads. Like most of the
others mentioned he gives up part of his time to teaching in the San
Carlos Academy.
The Dean of the present school of painters is Felix Parra, whose work
is much in the style of the modern French school. His subjects are
scenes from contemporary life which he presents with great vivacity and
some humor. His works are very popular among the wealthy and broadly
scattered in their homes.
Another artist who shows strongly the influence of the same school is
Alfredo Ramos Martinez, who received his art training partly at the
expense of interested art lovers and partly at that of the Mexican
government. All his subjects are of some manifestation of happiness
outdoors and his canvases are very popular. Several of them have been
hung in the Paris Salon.
Many of the pictorial treasures of Mexico were looted by the French
during their invasion of the country, but about two thousand have been
collected for the gallery of the National School of Fine Arts in the
City of Mexico. Many others are still preserved in churches and public
buildings throughout the various states and in private collections.
In the case of mural decoration, of which a great wealth was produced
during the Spanish domination, many of the best examples have been
destroyed by climatic influences but enough great frescoes have been
preserved to show that there were many masters in the earlier days.
Painting was first taught by Spaniards, but the teachers themselves
were of no narrow school. Spain, it must be remembered, dominated
in those days not only the Iberian peninsula but also Austria, much
of Germany, the Low Countries and great colonies in North and South
America and the East Indies. Her soldiers, priests, fortune seekers,
and government officials were the great travelers of the age. They
knew every school of art and all the materials then employed. The
teachers imparted to their pupils all there was of technique and the
pupils had the genius. To enlarge the native taste came later; many
Italian painters were attracted by the generous rewards which the rich
government and church gave for works of beauty which could be used for
the adornment of church and palace interiors.
At first copyists, the native artists soon became creators. The first
school studio in Mexico was opened about 1523, by Rodrigo de Cifuentes,
a Cordovan. His work was along the line of historic portraiture and
examples of it are still extant. His assistant was a Flemish monk,
Pedro de Gante. Another contemporary was Andres de Concha whose work
may still be seen in the church of Santo Domingo at Yauhuitlan, Oaxaca.
[Illustration: “THE FORTUNATES.” BY SATURNINO HERRAN.]
Next came the great school founded by the elder Echave. Among his
pupils were his wife (La Sumaya), his son, the two brothers Juarez, a
third Juarez and Arteaga. These filled in much of the early half of the
seventeenth century. Numerous works of theirs are still to be seen in
the National Academy and in various churches. For the most part their
subjects were devotional.
Of those who worked in the latter half of the century but two are
remembered, de Borgraf and Villalpando. There is a legend that the
wonderful Sister de la Cruz also painted, but the evidence is not
conclusive. A portrait of herself by herself (so it is claimed) was
brought to the United States and now hangs in the gallery of the
Pennsylvania Museum at Philadelphia.
Several notable painters distinguished the eighteenth century. Again
there were two brothers of the Juarez family. A Zapotec Indian, Michael
Cabrera, is by some considered the greatest painter of his time. He
first added to the colors introduced from Europe those more brilliant
pigments, knowledge of which descended from the Aztecs. He lived to be
old, was of great energy, and was a most prolific producer. His efforts
are broad and attained with startling success.
Flourishing at the same time was Ibarra, whose admirers are almost
as numerous as those of Cabrera. He was more hampered by convention,
however, and his appeal is not so forcible. Softness of coloring
distinguishes his work where that of his rival demands admiration
by harsher brilliancy. His style of work was continued by his pupil
Alzibar.
At the end of the century and through the first third of the nineteenth
the dominant figure in art was Tresguerras who was not only architect
and sculptor but painter and poet also. How one pair of hands could
have produced all that is attributed to him it is impossible to
conceive.
At the present time the government does everything possible to develop
art production. Tuition is free in the National Academy and many prizes
and scholarships are offered.
The Academy of Fine Arts (San Carlos) takes its origin from a decree of
Charles III., in 1778, when a school of engraving was authorized, which
was opened in the following year under the direction of Don Geronimo
Gil, the chief engraver of the mint. Three years later, classes in
painting, sculpture, and architecture were established with the consent
of the viceroy, followed the next year by a royal license establishing
La Academia de las Nobles Artes de San Carlos de la Nueva España, which
was opened on April 4, 1785. In 1791 the institution was removed to its
present home in the building formerly occupied by the hospital de Amor
de Dios.
Spain sent celebrated artists to Mexico to direct the affairs of
the academy; the first were the painter Aguirre and the painter and
architect Velasquez.
Before the Conquest there were no painters in oils but there were
wonderfully skilful and artistic use of the natural dyes and assembling
into artistic designs of the gaudy plumage of tropical birds and
weaving of fabrics. Also there was a knowledge of the making of glazed
pottery in rich hues. These arts survive among the people and are being
fostered by government influence.
[Illustration: “THE ETERNAL VICTIM.” BY F. ROMANO.]
In sculpture, after the Spanish invasion, there was much beautiful
work in the adornment of the churches, both by the carving of images
of saints and angels, and of architectural detail in the churches.
Afterward came an era of historic monument making leading to the
enrichment of the many public squares and government buildings. This
work of embellishment has been renewed with earnestness under the
present administration. Few names of the great sculptors have been
preserved. The three best remembered are those of Cora and Patino
Instolinque and Francisco Tresguerras.
Akin to the sculptor’s art is that of the worker in metals. Wonderfully
clever have the Mexicans ever been at the smithcraft and many of their
masterpieces rank with the best Italian work.
Of literary accomplishment the nation has not so much to show as in the
other arts, a condition due partly to the prohibition of authority and
partly to actual destruction. There was a body of native literature
before the Spaniards came, but this was almost entirely destroyed by
command of the priests who accompanied the invaders. Printing presses
were not welcome when Mexico was a colony of Castile and both religious
and secular authorities discouraged almost every form of letters. One
can hardly ascribe to Mexico the body of Spanish writers who chronicled
the Conquest. But there was an Aztec prince, Ixtlilxochitl, who did his
best to preserve some of the works of his ancestors by translating them
into Castilian.
After him were few writers of power until to-day. In the latter half
of the seventeenth century there flourished a prodigy best described
perhaps as a female Keats, who has left a number of beautiful poems.
She was Sister Juana Ines de la Cruz who forsook the viceregal court
for a convent in order that she might have more time for writing, but
who was soon silenced by the church authorities.
Almost a century later came Lizardi, a satirist, who had to send his
books to Havana to be published and who was bitterly persecuted by the
government and excommunicated by the church. Nevertheless, his work did
much to incite the struggle for independence and to-day still enjoys
a great vogue. Contemporary with him was a woman writer of patriotic
poems, Josepha Mendoza, who also did much to inspire the insurgent
cause.
In the early days of the republic two historical writers obtained fame
by careful work. These were Bustamante and Alaman. Their books are
still accepted as authoritative.
There was no actual renaissance, however, till about forty years ago,
when many of the cultured began earnest study of the public archives
and to make revelation in prose and poetry of the ancient lore, romance
and legend of the country. Ignacio Manuel Altamirano produced his
“Rimas,” “El Movimiento Literario en Mexico,” “Dramaturgia Mexicana,”
“Clemencia,” “Antonio y Beatrix,” “Luisa,” “La Navidad en las Montanes.”
The Paisajes of Leyendes deals with the customs and traditions. The
style of his work is temperate and confined to the religious feasts of
the country. His works contain pictures of primitive races, with their
Christian rites intermingled with old forms of worship. His books are
widely read.
Juan Mateos is famed abroad. He is quoted everywhere and is much
appreciated in his own land. His novels are historical, and his dramas
have received great recognition.
[Illustration: “A PORTRAIT.” BY HERMAN GEDOVIUS.]
Joaquin Garcia Icazbalceta took his countrymen to original documents
of history for their information. His example was followed by José
Barcena, Dr. E. Gonzalez, Manuel Orozco y Berra, Lic. Luis Gutierrez
and Otero. Other writers in serious vein about their country have been
Matias Romero, so long minister to Washington, Antonio Garcia Cubas,
and Ignacio Mariscal, the late distinguished Secretary of Foreign
Affairs, a writer of great ability. He was a linguist, speaking
perfectly several languages. He has written important works on the
occult and was a graceful translator of some of the choicest poems in
English literature, among them Poe’s _Raven_ and William Cullen
Bryant’s _Thanatopsis_, whose noble lines expressed much of his
own aspirations.
Francisco de la Barra, the Mexican Ambassador at Washington is a writer
of note. Fredrico Gamboa is among the best writers of fiction.
Señor Justo Sierra, one of the most virile and forceful of poets, has
taken great rank in Spain as well as in his own country. He is one of
the Ministers of the Cabinet, but his literary work continues even
with his dignity of position and arduous duty attending it.
The historical works by Carlos Pereyra, author of “Lecturas Historicas
Mejicanas, Historia del Pueblo Mejicano,” which comprise a full story
of the Mexicans from the early period before the Conquest to the
present day, are very interesting and show a great knowledge of the
important events of the Mexican nation as well as the characteristics
of the people. His style is easy and graceful, avoiding the dryness of
most works of this kind, and full of romance from the beginning to the
end.
Among the Mexican novelists one finds remarkably good descriptive
power; just as the country glows with intense life and color, so do
their fiction and poetry express fervid passion and feeling. There is
a tendency to epigrammatic terseness in sentence and paragraph. There
is invariably a deep love of nature, expressed in most beautiful word
painting and always there is intense patriotism with luminous force in
the expression of it. The richness of the language and their love of
home life give the Mexican writers on this subject great opportunities.
The name of Irenio Paz, an editor as well as a novelist, is well
known, as his simple direct style appeals to the readers. Vicente
Riva Palacio, for his purity of language and elegance stands foremost
among the writers of melodramatic intensity. His “Calvario y Tabor” is
a historical novel covering the period of struggle which terminated
in the overthrow of foreign power and the downfall of Maximilian,
and treats of almost every possible range of emotion. It is a tale
of the death agony of the Old Empire and the transfiguration of the
New Republic, intermingled with loves and romances of the people,
their habits, their hospitalities and extreme charity. The historical
portions of the novel are superb and there are remarkable thoughts
forcibly expressed.
Of original poets the last few decades have produced a great number and
several indubitably had the divine fire. Manuel Acunha wrote several
fervid poems of passion which have been and still are most popular.
A master of lyrics is Guillermo Prieto, who has been acclaimed the
laureate of Mexico. His work is the best expression of the national
spirit of the people, whose patriotism grows steadily in fervor.
Singers only less great than these, are Davalos, Granados, Nervo,
Tiron, Pazaza, Othon and Urbina. Showing promise of strong work in
their maturity are many young men who are now producing plays, novels,
and poems of worth. Juan de Dios Peza, whose death a few years since
deprived Mexico of one of her best poets, wrote exquisitely “El Arpa
del Amor” and “Recuerdos de mi vida.”
Among other writers are Rebolledo, Lopez, Campos, Urneta, Delgado, and
Rivera. One of the most evident tendencies of these latter day authors
is to break away from the influence of Spanish literature. Translations
from the works of perhaps all the great writers of Europe are freely
made and the American masters especially have been treated in this way.
There is a better knowledge of American literature in Mexico than in
any other foreign country, Great Britain not excepted. Naturally this
study finds reflection in the Mexican literature, but underneath all is
the growing nationalism which eventually must find full expression. The
Golden Age of Mexican letters is not yet but there is promise of speedy
entrance thereon.
Meantime the government is patronizing efforts to collect the folklore,
ballads and songs of the nation. These are being carefully compiled
and edited and when published will afford a revelation of thought and
sentiment to the world. Persecution and warfare have always produced
the most vibrant songs and Mexico has had her share of both.
Mexico is a land of book lovers. The genuine love of literature is
universal, even the poorer classes are fond of reading love stories,
and those having the simplest knowledge of reading find pleasure in
books. There is a good market for books of the modern literature of
France and Spain, and even English literature is gaining a foothold.
Most wonderful libraries of costly editions are found in every home,
especially in the homes of professional men.
Senator Licenciado don Francisco Alfara, the great criminal lawyer of
Mexico, has the most remarkable collection of paintings of the old
masters, books long out of date, and curios from every country of the
world. His collection of original manuscript of old and famous writers
is one of his valued possessions. Not only is the literature of Spain
and France popular, the Mexicans have a literature of their own. As
far back as 1680, King Netzahualcoyotl of Tezcoco wrote a poem on the
“Mutability of Life.”
There are hundreds of cultivated men of Mexico who live in the
enchanted ground of literature, contented in retirement from political
discussions and business, devoting themselves to reading; besides
this, Mexico has so many students, so many professors graduated from
the Normal Schools, and so many Societies of different cults that it is
a University centre.
[Illustration: “CHILDREN OF MISERY.” BY SOSTENES ORTEGA.]
There are many daily papers thriving in Mexico City. The
_Imparcial_ is a very important paper, with an afternoon edition
called _El Mundo_; both of these periodicals have a large
circulation. Others are _El Tiempo_, _El Diario_, which is on
the advanced order of our popular dailies, and _Correo Espanol_, a
Spanish paper with a splendid editorial staff of young newspaper men.
The _Mexican Daily Record_, an afternoon paper printed in English,
has a very brilliant editorial staff, and the _Mexican Herald_,
another English newspaper, is edited by an American.
There are weekly papers which are very ably edited, _Artes y
Lettras_ is the most popular. _El Mundo Ilustrado_ is well
illustrated, and deals lightly with important events of the week. _La
Revista Literaria_, is edited by Señor Barron who is a popular local
poet. The first book printed in Mexico was _La Escala Espiritual_
para _Llegar al Cielo_ (The Stairway to Heaven), printed in 1537.
In music, Mexico records no great composers of old, those of her
folk songs being unknown, but music is a passion with the people and
musical education one of the chief cares of the government. Public
concerts are generally given throughout the cities and the nation
maintains a conservatory in the capital city wherein is one of the
best libraries of music extant. All the great European soloists and
directors look to at least one season in Mexico as part of their
natural experience and nowhere do they find more appreciative and
critical audiences. Two, at least, of the Mexican moderns have achieved
international fame, Antonio Zuniga, of Guanajúato, and Chang-Cilli, of
Yucatán, whose orchestrations are familiar to and frequently used by
European leaders.
Just now very intelligent efforts are being made to educate the
artistic side of the Mexican people and although many of these take the
direction of improving the arts and crafts for commercial advantage,
the result is bound to be the development of individual talent. Great
artists and great works of art are to be expected of Mexico.
[Illustration: “THE ROUND UP.” BY JUAN URRUCHI.]
[Illustration: CATHEDRAL, CITY OF MEXICO.]
[Illustration: WALL AROUND THE SHRINE AT CHURUBUSCO.]