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483:. This sculpture became the center of a scandal in 2006. Other exhibitions from the 2000s include in 2005 "Jose Luis Cuevas in Drawing and Sculpture" at the Latin American Art Museum in Long Beach, California. "Selected Drawings and Watercolors" Tasende Gallery, West Hollywood, California. In 2006, he inaugurated the Paseo Escultórico Nezahualcóyotl with a sculpture named after his wife called “Carmen.” Retrospective Exhibition at the Museum of the Palace of Fine Arts in Mexico City in 2008. “Exposición Siameses 50 Años de la Plástica del Maestro José Luis Cuevas” in 2009 and 2011 and “Dibujo y Escultura” in 2010. He continued to actively exhibit his work until his death, especially in Mexico.
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457:("March. Month of Jose Luis Cuevas.") From 1984 to 1988, a series of 50 large format drawings called “Intolerance” toured universities and museums in the U.S., Canada, Mexico and Europe. These drawings were the result of Jose Tasende's gift to Cuevas of the book "The Witches' Advocate" by Gustav Henningsen. In 1985 exhibits with Henry Moore and Eduardo Chillida in the exhibition Figure Space Image at Tasende Gallery, La Jolla, California. The illustrated letters he wrote to his dealer JM Tasende during his exile from Mexico are exhibited at Tasende Gallery prior to becoming part of the permanent collection of the Metropolitan Museum of Art, New York.
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782:, are mostly done on very large sheets of paper. In many of these drawings, the figures transform into animals or acquire an animal quality. Well acquainted with the cinematic arts, he manipulated data and even concocted events, drawing on his memory for plausible details. His best known event of this type was the creation of the “Mural Efímero” (Ephemeral Mural), which he created and immediately destroyed publicly as a challenge to the Mexican muralism movement. He gave what is now known as “Zona Rosa” its name, located in the then cosmopolitan section of Colonia Juarez, stating that
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His most characteristic work involves images of disfigured creatures and the misery of the contemporary world. Although he was not opposed to worldly pleasures, they are not depicted in his work. He stated that his work leans more towards the flesh in an “excessive” way with the presence of death. Cuevas said that his drawing representa the solitude and isolation of contemporary man and man's inability to communicate. He also stated that it is an “invitation to return to vegetarianism."
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believe that he was vain and says that idea started in 1955 when he decided to take a picture of himself every day, which he continued to do up to the end of his life. He was one of the most photographed contemporary artists of Mexico. One ludicrous story states that he visited a “vampire brothel” where they scratch and paw at customers. Other story relates him to a 70-year-old woman named Gloria who he tried to seduce and another one that
157:(English: Breakaway Generation). He was a mostly self-taught artist, whose styles and influences are moored to the darker side of life, often depicting distorted figures and the debasement of humanity. He had remained a controversial figure throughout his career, not only for his often shocking images, but also for his opposition to writers and artists who he feels participate in corruption or create only for money. In 1992, the
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womanizer, nicknamed “gato macho” (male cat) or seducer of women, which he took advantage of to promote himself. In a Mexico City newspaper column written by him, he claimed he had over 650 erotic encounters. He states that Bertha was not allowed the same freedom and that she never knew about his affairs despite his writings about them. He and Bertha had three daughters, Mariana,
337:. The walls are tones of gray with very straight lines. The interior is minimalist with paintings by the artist on the walls and wood furniture with Mexican textiles. While the house is clean and orderly, the space dedicated as his studio is messy, strewn with books, old machinery, a telescope, mirrors, many photographs and more.
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Cuevas stated that he drew a skull as he considered them devoid of expression and they are not necessarily representative of death in
Mexican culture. He preferred to draw cadavers and bodies shortly after death, as they still retain the individual human qualities. In this approach, he stated that he
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Cuevas married his first wife, Bertha
Riestra, in 1961. He met Bertha at the La Castaneda hospital while she was there doing community service and painting. Her parents did not attend the wedding as they did not approve of him since he was an artist. Despite being married, he gained a reputation as a
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At age fourteen, he rented a space on
Donceles street to use as a studio instead of returning to school as his poor health meant that did not know how long he might live. He decided it would be better to dedicate himself to his art. Cuevas learned how to horse back ride and basket weave for money. He
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Themes in Cuevas’ work tend to be bleak, grotesque, enveloped in anguish and fantasy, with human figures distorted to the point of uniqueness. His work has been described as having a “great gestural ferocity” often preferring subjects relating to human degradation such as prostitution and despotism.
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once said that “The greatest love of José Luis Cuevas is named José Luis Cuevas, because he is an artist more in love with himself than with his work.” The reason for this quote is that he has done so many self-portraits that it is like having a large number of mirrors. Cuevas stated that he did not
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Cuevas was born and raised in a country which has produced major innovators in the fine arts, and he himself became a symbol of both the continuity of this tradition as well as a permanent break with the past. In particular, Cuevas was an early and very outspoken critic of the muralist movement led
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in Mexico City. In 1976, he had four women tattooed with original designs of his own making, so that the art “would grow old with him” This despite the fact that tattoos were illegal in Mexico at the time. In 1979 Jose Luis exhibits 50 watercolors and drawings along with illustrated letters at
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Within a career that spanned over seventy years, Cuevas was a painter, writer, draftsman, engraver, illustrator and printmaker. There have been solo exhibitions od Cuevas' work in museums and galleries throughout the world. His first exhibition was when he was only fourteen at the
Seminario
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His initial opposition to the
Mexican cultural status quo was with the muralists, calling them and the government that supported them the “nopal cactus curtain,” acting against newer artists and innovations. His first essay against the “nopal cactus curtain,” was to be published by
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Axiologico but no one came, the works came off the walls and were stepped on. His first successful individual exhibition was at Mexico City's Galería Prisse in 1953, when he was nineteen. In 1954, he meets the critic Jose Gomez-Sicre who invites him to exhibit at the
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In 1981, he opened the exhibit "Signs of Life" which contained a vial with his semen and an electrocardiogram taken while he was making love. He stated in the exhibition's brochure that he would impregnate any woman that asked him to do so, but the
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threw herself at him. He admitted to being a bit paranoid and defensive, concerned about being cast in a negative light. He claimed Julio
Scherer García as an enemy for interfering with his writing career. He also had feuds with painter
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in the 1950s when he was coming out after mainstream artists. Even in his final years, he made deferences by opening his museum to all of his friends but those he considers enemies were not permitted inside.
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Cuevas’ influences included Goya, writer
Francisco de Quevedo, Picasso, with some hues from Posada and Orozco. Over the years, he paid homage to his favorite painters and writers, such as
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have appeared in his works. His predilection for the darker side of life along with breaking with tradition has meant belated acceptance for his work in certain circles of the art market.
366:, which called him a “golden boy,” opening doors and helping to sell his paintings. In 1955, he participated in the first Salón de Arte Libre organized by Galería Proteo, where he met
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for publication. When he returned to Mexico, he presented the exhibition “José Luis Cuevas. El regreso de otro hijo pródigo.” (José Luis Cuevas. The return of another prodigal son).
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As Cuevas' education was interrupted by illness, he was mostly a self-taught artist. He was part of the first generation of
Mexican artists to have emerged after the
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newspaper, where he continued his critique towards the
Mexican muralist movement. Throughout this time, he became friends with a number of other writers such as
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neighborhood in 1995. In 1997 he exhibits at
Tasende Gallery, West Hollywood, California. In 1998, he exhibited “Retrospectiva de Dibujo y Escultura” at the
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and worked on several books, serigraphs and lithographs in works called “Cuaderno de París” and “La Renaudiere.” The first was honored at the Book Fair in
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Cherem S, Silvia (May 28, 2000). "Entrevista/ Jose Luis Cuevas/ El ombligo de Cuevas" [Interview/Jose Luis Cuevas/The navel of Cuevas].
924:("The Giantess") by Cuevas, which is situated in the central courtyard. The androgynous sculpture was created in 1991 and inspired by a poem by
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Gutiérrez, Laura G. (14 December 2010). "Reframing the Retablo : Mexican Feminist Critical Practice in Ximena Cuevas' Corazon Sangrante".
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676:("Perfumes and Fashions") and dropped off a copy of the magazine at Siqueiros's house. Later, with the help of Carlos Fuentes he published in
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and María Jose. In 2000, Berta Riestra, his wife and, at the time, the director of the José Luis Cuevas Museum, died due to breast cancer and
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Cuevas was sometimes described as vain, a pathological liar and a hypochondriac, obsessed with sickness and death, especially his own. Writer
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Rodriguez, Juan (September 15, 1995). "Jose Luis Cuevas: un viaje hacia el interior" [Jose Luis Cuevas: a voyage to the interior].
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was published in 1972, inspired by San Francisco. He “self-exiled” to France where he exhibited at the Modern Art Museum in Paris and the
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José Luis Cuevas, exposición en la Galería de la Secretaría de Hacienda y Crédito Público, Centro Histórico de la Ciudad de México, 1984.
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In the late 1980s, Cuevas obtained the old monastery of Santa Inés in Mexico City's historical center for the purpose of creating the
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Cuevas's style is aggressive and lacks inhibition which often shocks the observer. Cuevas's drawings, which were done in pen and ink,
704:, were known as “La Maffia” a critique group of Mexico's then-current culture. It also earned him scorn and critique, especially from
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but ultimately rejected by the periodical, although he later renamed and published it as “Letter to Siqueiros” in a magazine titled
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Toledo, Fernando (December 21, 1995). "Jose Luis Cuevas: En la cueva de Cuevas" [Jose Luis Cuevas: In the cave of Cuevas].
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made him to remove the brochure because it was then-considered as act of prostitution. In 1982, fourteen galleries in Mexico City,
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from the City of Jerusalem and the World Zionist Organization in 2007 and the Lorenzo the Great Prize at the VIII Biennial of
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Sanchez, Leticia (May 23, 1997). "Jose Luis Cuevas, enamorado de si mismo" [Jose Luis Cuevas, in love with himself].
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1225:[Obra temprana by Jose Luis Cuevas at the "Ramon Alva de la Canal"] (in Spanish). Mexico: Universidad Veracruzana
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In addition to awards for his artwork, Cuevas received other honors as well. These include honorary doctorates from
197:. The illness left him bedridden for two years. During this time, he learned engraving work taught by Lola Cueto of
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and the "Frente Popular de Artes Plasticas" were envious of him and that they accused him of working with the
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at the Primera Bienal del Grabado Latinoamericano in San Juan, Puerto Rico. The lithographic series called
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in Washington, DC. This, his first U.S. exhibition, sold out opening night and resulted in interviews with
784:"Es demasiado ingenua para ser roja, pero demasiado frívola para ser blanca, por eso es precisamente rosa"
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In 1991 "Celebrating 25 Years with Jose Luis Cuevas" opens at Tasende Gallery, La Jolla. He created a
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publication, where he referred to the then mural artists establishment such as Diego Rivera as the
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By the age of fourteen, Cuevas had illustrated numerous periodicals and books. In 1957, he went to
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1357:"Muere el artista plástico mexicano José Luis Cuevas, el líder de la "Generación de la Ruptura""
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1675:[Permanent collection of the museum] (in Spanish). Mexico City: José Luis Cuevas Museum
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417:. Cuevas' other exhibitions from this period include one at the Silvan Simone Gallery in 1967.
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for Falcon Prest Publishers. In the late 1950s, he began to write on cultural topics for the
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His work reates controversy to the end and his appearance attracted large numbers of women.
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who drew skulls and bones. His work was influenced by Spanish poetry and Spanish cities as
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530:(1966), a book of lithographs made at the Tamarind Workshop in Los Angeles inspired by the
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This article is about the Mexican artist. For the Mexican architect and urban planner, see
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During the 1970s, he exhibited 72 self-portraits at the Centro Cultural Universitario at
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readings had told him so, Cuevas died on July 3, 2017, in Mexico City at the age of 83.
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The Museum's collection includes more than 1860 pieces by various artists, mostly from
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neighborhood of Mexico City. The house was built for Cuevas in the 1970s by architects
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of Mexico in 1993 and In 1997 the Premio de Medallística Tomás Francisco Prieta from
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Cuevas’ earliest award was in 1959, the International First Prize for Drawing at the
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1085:[Biographical chronology] (in Spanish). Mexico City: José Luis Cuevas Museum
1004:"Se inaugura en Veracruz la exposición Mala Sangre / Bestiario de Alexis de Chaunac"
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In 1985, he began publishing a column called “Cuevario.” In 1987 he worked with the
129:(February 26, 1934 – July 3, 2017) was a Mexican artist, he often worked as a
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Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda" alumni
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In 2001, he donated a sculpture called “Figura Obscena” (Obscene Figure) to the
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Despite his predictions that he would live to over a hundred because various
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declared him an “honored guest” and he received the keys to the two cities.
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José Luis Cuevas was born on February 26, 1934, to a middle-class family in
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881:(2008). He was honored as Captain of the Yaqui Army by the leaders of the
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In 1977 he won First Prize at the III Latin American Print Biennial in
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holding most of his work and his personal art collection. His grandson
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Taibo I, Pace Ignacio (September 1994). "The Museo Jose Luis Cuevas".
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1223:"Obra temprana, de José Luis Cuevas, en la "Ramón Alva de la Canal""
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1429:[Will render homage to fine artista José Luis Cuevas].
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Portion of the pub with works by the artist on the wall at the
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Travels in the Labyrinth: Mexican Art in the Pollak Collection
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Ruiz, Blanca (April 27, 2001). "Travesias/ Jose Luis Cuevas".
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1134:. San José State University Digital Art Lobby. Archived from
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149:. Cuevas was one of the first to challenge the then dominant
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presented the exhibition “José Luis Cuevas. Obra Gráfica".
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Courtyard of the José Luis Cuevas Museum with "La Giganta"
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Jose Luis Cuevas Museum, located behind Santa Ines Church
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1427:"Rendirán homenaje al artista plástico José Luis Cuevas"
1313:[José Luis Cuevas celebrates 78 years of life].
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National School of Painting and Sculpture "La Esmeralda"
1587:(in Spanish). Mexico City. Agencia CFE. August 20, 2007
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of the 19th century. He felt very “Spanish” in this as
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which contains 183 cards drawn by Cuevas for his wife.
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79:painter, illustrator, printmaker, sculptor, writer
1651:"Fundación Maestro José Luis Cuevas Novelo, A.C."
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1433:(in Spanish). Mexico City. February 23, 2012
1338:"Muere el artista mexicano José Luis Cuevas"
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1569:(in Spanish). Mexico City. p. 37.
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1266:(in Spanish). Mexico City. p. 4.
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578:Cartas amorosas a Beatriz del Carmen
108:National Prize for Arts and Sciences
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592:Monument of the Obscene Figure in
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1935:21st-century Mexican male artists
1930:20th-century Mexican male artists
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1673:"Colección permanente del Museo"
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854:In the 2000s he received the
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505:The World of Kafka and Cuevas
1474:"José Luis Cuevas biography"
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616:(Breakaway Generation) and
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244:Guillermo González Camarena
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843:in 1991, induction in the
524:Recollections of Childhood
333:in a style reminiscent of
169:is a contemporary artist.
18:
1746:
1653:(in Spanish). Mexico City
1398:10.1080/14680770120042873
447:Secretaría de Gobernación
254:In the 1960s, he went to
114:
103:
83:
75:
63:
51:
39:
32:
1925:Writers from Mexico City
1920:Artists from Mexico City
1529:"Museo José Luis Cuevas"
1373:. ABC News. 3 July 2017.
1359:(in Spanish). BBC Mundo.
614:Generación de la Ruptura
474:Pablo Picasso Foundation
331:Teodoro González de León
297:Bertha Riestra de Cuevas
220:Generación de la Ruptura
155:Generación de la Ruptura
1814:Francisco Castro Leñero
1083:"Cronología biográfica"
911:José Luis Cuevas Museum
897:José Luis Cuevas Museum
871:Universidad Veracruzana
700:who, along with writer
576:. In 2012 he published
503:to illustrate the book
159:José Luis Cuevas Museum
1386:Feminist Media Studies
906:
664:
646:David Alfaro Siqueiros
605:
545:In 1970, he presented
515:
496:
411:Tilman Riemenschneider
368:David Alfaro Siqueiros
350:
306:
298:
67:July 3, 2017 (aged 83)
1900:Mexican male painters
1809:Alberto Castro Leñero
1705:at Wikimedia Commons
904:
826:San Juan, Puerto Rico
742:José Guadalupe Posada
724:followed elements of
714:Academy of San Carlos
678:"Museo en la Cultura"
658:
591:
494:
438:Museo de Arte Moderno
348:
304:
296:
1864:Marcela Lobo Crenier
849:Queen Sofía of Spain
765:Francisco de Quevedo
726:German Expressionism
650:"il enfant terrible"
642:José Clemente Orozco
540:Francisco de Quevedo
1910:Mexican printmakers
1539:on January 30, 2013
1138:on December 1, 2012
690:José Emilio Pacheco
561:, Germany in 1978.
510:Novedades de México
434:Musee d’Art Moderne
327:Abraham Zabludovsky
199:Mexico City College
110:of Fine Arts (1981)
70:Mexico City, Mexico
58:Mexico City, Mexico
46:Luis Cuevas in 2011
1859:Cristina Rubalcava
1132:"Jose Luis Cuevas"
907:
799:São Paulo Biennale
730:Catalan Romanesque
674:"Perfumes y Modas"
665:
606:
555:Chartres Cathedral
497:
430:Phoenix Art Museum
397:Gallery, when the
351:
307:
299:
262:, meeting painter
240:José Chávez Morado
238:. He claimed that
226:René Avilés Fabila
161:was opened in the
1872:
1871:
1769:Ricardo Regazzoni
1701:Media related to
757:Fyodor Dostoevsky
694:José de la Colina
610:Muralist movement
574:José-Miguel Ullán
536:Homage to Quevedo
516:cortina del nopal
436:in Paris and the
388:Jorge Luis Borges
356:Panamerican Union
167:Alexis de Chaunac
124:
123:
55:February 26, 1934
1942:
1839:Pedro Friedeberg
1764:Manuel Felguérez
1754:José Luis Cuevas
1740:Uriarte Talavera
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1703:José Luis Cuevas
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698:Carlos Monsiváis
686:Fernando Benítez
630:Fernando Benítez
618:Neo Figurativism
518:
495:José Luis Cuevas
401:compared him to
231:Marlene Dietrich
151:Mexican muralism
127:José Luis Cuevas
119:Official website
98:Mexican muralism
93:Neo-figurativism
44:
34:José Luis Cuevas
30:
29:
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1949:
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856:Jerusalem Prize
830:Venice Biennial
821:, India, 1968.
795:
769:Marquis de Sade
706:Leopoldo Méndez
586:
568:. He published
551:Cuevas Comedies
547:Crime by Cuevas
532:Marquis de Sade
528:Cuevas-Chareton
489:
472:. In 1999, the
386:, where he met
364:Washington Post
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195:rheumatic fever
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25:Pipino Cuevas
22:
1829:Mónica Dower
1784:Luis Argudín
1753:
1695:
1677:. Retrieved
1667:
1655:. Retrieved
1645:
1625:
1619:
1610:
1601:
1591:November 16,
1589:. Retrieved
1584:
1575:
1566:
1541:. Retrieved
1537:the original
1532:
1509:
1478:. Retrieved
1476:. Ro Gallery
1435:. Retrieved
1431:El Universal
1430:
1392:(1): 73–90.
1389:
1385:
1379:
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1350:
1341:
1331:
1319:. Retrieved
1314:
1293:
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1245:
1239:
1227:. Retrieved
1195:
1140:. Retrieved
1136:the original
1087:. Retrieved
1011:. Retrieved
1007:
998:
922:"La Giganta"
921:
915:
908:
883:Yaqui people
873:(2004), the
869:(1984), the
864:
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487:Publications
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384:Buenos Aires
352:
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253:
223:
211:
208:
205:Early career
188:
181:
126:
125:
1890:2017 deaths
1885:1934 births
1759:Jan Hendrix
807:Switzerland
793:Recognition
761:Franz Kafka
734:Romanticism
626:Octavio Paz
341:Exhibitions
276:lithographs
260:Islamic art
184:Mexico City
143:illustrator
1879:Categories
1636:0812217748
1510:La Opinión
1013:2020-08-02
990:References
926:Baudelaire
780:watercolor
413:he saw in
272:serigraphs
147:printmaker
133:, writer,
1406:144861467
930:bordellos
887:Monterrey
862:in 2012.
819:New Delhi
750:Barcelona
682:Novedades
670:Excélsior
559:Stuttgart
466:Zona Rosa
451:Barcelona
323:San Ángel
258:to study
178:Childhood
173:Biography
135:draftsman
88:Modernism
1296:(5): 50.
1290:Americas
934:cabarets
860:Florence
815:Santiago
526:(1963),
462:Talavera
399:NY Times
362:and the
316:leukemia
289:Marriage
268:Tangiers
213:The News
139:engraver
84:Movement
1747:Artists
1679:June 2,
1657:June 2,
1567:Reforma
1543:June 2,
1480:June 2,
1437:June 2,
1342:El Paīs
1321:June 2,
1264:Reforma
1246:Reforma
1229:June 2,
1196:Reforma
1142:June 2,
1089:June 2,
940:Gallery
891:Tijuana
776:gouache
746:Seville
403:Picasso
376:Caracas
256:Morocco
131:painter
115:Website
1633:
1404:
879:Havana
841:France
803:Lugano
644:, and
602:Mexico
598:Colima
594:Colima
432:, the
415:Munich
372:Havana
312:Ximena
145:, and
104:Awards
1585:Terra
1402:S2CID
839:from
283:tarot
1681:2012
1659:2012
1631:ISBN
1593:2010
1545:2012
1482:2012
1439:2012
1323:2012
1231:2012
1144:2012
1091:2012
932:and
889:and
778:and
767:and
748:and
738:Goya
732:and
708:and
628:and
534:and
422:UNAM
407:Rome
382:and
380:Lima
360:Time
329:and
274:and
64:Died
52:Born
1394:doi
813:in
266:in
248:CIA
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