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work as primitivist, these comments gained certain regional isolationism. Izquierdo painted a significant number of works with religious themes that fall into a category of imagery, about folk
Catholicism or popular art or both. Some representations of popular devotion could be interpreted as religious subjects or as homages to the popular and artisan traditions of Mexico, especially rural Mexico. This category, which is often ambiguous in its intent, is exemplified by María Izquierdo's Calvario (Calvary) of 1933. Izquierdo painted most of her images from memory. Her friend the poet Margarita Michelena recalled that they often went to the country together, and Izquierdo dedicated herself to just looking. Izquierdo evoked memory in her paintings in two ways. First, she used formal means to create a sense of time past. Prior to 1940 she employed loose brushstrokes and avoided detail. Throughout her life she created paintings that lack the directional light and cast shadows that would suggest a specific time of day. Second, after 1940 she portrayed traditional aspects of Mexican culture that were known to be vanishing, such as coscomates (granaries) and altars to the Virgin of Sorrows. The tradition of making Viernes de Dolores altars began to vanish in the 1940s. This is precisely the decade in which Izquierdo painted her series of Viernes de Dolores altars.
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a recent ground-breaking exhibition organised by the Centro
Cultural/Arte Contemporaneo in Mexico City. Izquierdo's work shares many of the same themes and pre-occupations as that of Kahlo. Her paintings often refer to tragic elements in her life and incorporate the type of dream-like fantasies that are to be found in the work of artists of the Mexican School. The exhibition included 160 works. The excellent catalog presented five biographical and interpretive essays, with a complete bibliography, chronology and exhibition history. The vast corpus of photographs of both the artist and her work gives a visual repertory of virtually every known painting, drawing and print. It is an essential addition to the bibliography of modern Mexican painting.
586:"Trigo crecido" (Growing Wheat), from 1940, presents objects and symbols with distinct local and traditional significance through a transnational modernist vocabulary. Usually grouped with Izquierdo's series of domestic interior tableaux, Trigo crecido was the first home altar that she painted. A late domestic cabinet composition from 1952, La alacena (Viernes de jugueteria ), comes full circle back to Izquierdo's home altars of the previous decade. By titling the work Viernes de jugueteria (Toy Store Friday), Izquierdo playfully connected the painting to the Viernes de Dolores altar series. The composition includes elements typically found in her altars, such as the drawn lace curtains, extinguished candles, toy figurines, and
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technique, intended to recall the folk painting of regional artisans, heightened the effect. Still, many of her paintings contain unusual subject matters and interesting juxtapositions. Izquierdo's peculiar inclusion into a
Mexican nationalist discourse suggest ways of bringing together several sets of discourses too often kept separate: those of Latin America, of feminism, of modernism, and of nationalism. Still, many of her paintings contain unusual subject matters and interesting juxtapositions. Known for her use of bold, rich, and bright colors, most of Izquierdo's paintings were done using oil paints or watercolor. Although she was and is still often compared to
590:. Naturaleza viva con huachinango, painted in 1946 by Maria Izquierdo, countered the Muralists' view of Mexican identity with a vision deeply opposed to it. In contrast to the Muralists' images of human and class struggle, this landscape contains no overt human presence. Human activity is in manifested in windowless, abandoned buildings and untouched food set out for unknown, unimagined diners – an ironic and absurd display of abundance which only serves to point out the poverty of the surrounding landscape.
455:" or "modern girl" was developing in Mexico. Izquierdo embraced this new image, often seen in the characteristically dressed in modern clothes, lit cigarette in mouth. In association with the Contemporáneos, the group critiqued the specific ideology of masculinity, the warrior hero had been used to define national identity by the Muralists. The Contemporáneos defined alternative concepts of national identity, resisted the notion of the warrior hero and promoted more comprehensive representations of women.
259:, the crowd was immediately impressed by her talent. Gaining prominence within the art world, Izquierdo's name continued to spread in the years that followed. Diego Rivera described her at her first individual exhibition as "one of the most appealing figures in the art scene in Mexico". He often described her as "one of the best at the academy" and many publications reviewed the 1929 solo exhibition highlighting Rivera exclamation that Izquierdo "was the only real artist with merit" at the Academy).
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597:(Dream and Premonition) in 1947. Painting herself holding her own severed head by the hair, the tree branches surrounding her also dangle severed heads. Diminishing figures run along the lower half of the painting while tears fall from her severed head. Although the painting can be interpreted as surrealistic, it is often interpreted as evidence to the suffering she endured in her final years of life.
207:. Beyond the status of colleagues and friends, the Contemporáneos were collaborators. For the Contemporáneos, the city was a hub of Mexico's evolving modernity. While celebrating Mexico's unique traditions, the Contemporáneos embraced this idea of universal cosmopolitanism, and believed that Mexican culture should remain open to international influences and to the voice of the urban intellectual.
270:'s traveling exhibition. Both the paintings that made up her solo exhibition and were included in René d' Harnoncourt's traveling exhibition, went on to become a part of an extensive exhibition at the Art Center on 56th street for 5 years. Her art was exhibited in New York's Museum of Modern Art in 1940 and that same year was also exhibited in Paris.
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growing concentration on art serving only as a catalyst for political change. In the early 1920s a circle of young writers and artists, Including Maria
Izquierdo, published a magazine called the Contemporáneos. The group would later adopt this name to identify themselves. Izquierdo, along with Manuel Rodríguez Lozano,
583:, a traditional Mexican craft of hand-cut, brightly colored paper. Local pottery, wares, fruits, and flowers signify the products of the land and the people of Mexico, as they do throughout Mexican post-colonial and modern art. One of Izquierdo's earliest explorations of the cabinet motif came in her Alacena of 1942.
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In 1945, Izquierdo became the first woman to be granted a major governmental mural commission, in the central stairwell of the
Department of the Federal District government building. In the initial stages of its execution, however, Mexico City's governor revoked the commission due to the interference
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An exhibition that traveled to
Frankfurt, Vienna, and Dallas in 1987–88 showed a group of striking paintings by Izquierdo that announced to a non-Mexican audience the powerful presence of another painter of almost equal stature and originality. The career of this outstanding artist was the subject of
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Quickly becoming an internationally known artist, Izquierdo hit the peak of her career in the early 1940s. In May 1944 she began serving as the cultural ambassador for Mexico and traveled to several South
American countries until late September. Her career, however, hit both a financial and artistic
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During her time as Diego Rivera's star pupil, he described her artwork as "proud yet modest". Izquierdo's portraits are mature studies in interpretation, they are stylistically very feminine and unmistakably
Mexican. In 1937, reviews of her work began to use words like "primitive" and to define her
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painter, María
Izquierdo never identified herself as a surrealist. Instead, Izquierdo identified with the Contemporáneos, who believed that Mexican culture should be rightfully seen as a vital contributor to the dominant Western culture. She wasn't afraid to go against popular Mexican art movements
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Izquierdo painted at least twelve ofrendas between 1940 and 1948. Some of the paintings are populated with toys, sweets, and crafts related to popular
Mexican heritage and Catholic occasions. Viernes de Dolores, like her other paintings in this series, faithfully captures the customary contents of
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all proclaimed she lacked both talent and experience to complete such a large project. Diego Rivera, the man who once served as her number one supporter, then hindered her career. Izquierdo is well known for rebutting the Mexican muralist actions with her famous quote: "it is a crime to be born a
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Sharing a studio with the young artist for four years, Tamayo had a profound impact on Izquierdo's early development as an artist. Introducing her to watercolor, the two shared similar subject matter and color palettes. Both believed art should serve more as a poetic outlet than a political one,
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At age fourteen, she had an arranged marriage to a senior army officer, Colonel Cándido Posadas, and bore three children (two boys and a girl) by the time she was 17 years old. It is said that her daughter influenced some of Izquierdo's work, including "Niñas Durmiendo". She divorced around 1928.
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they think that bragging outloud makes them better ; but deep inside they are still full of old prejudices and are just covering up with theatrical attitudes for their inferiority complex. I think feminists have not conquered anything for humanity, nor for themselves, and instead of helping women
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after the death of her father. Her mother later married Dr. Nicanor Valdes Rodríguez, at which point Izquierdo was raised by her grandparents and relatives in small towns in Northern Mexico. Her grandmother and aunt were devout Catholics, and much of her upbringing revolved around daily Catholic
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Izquierdo received an enormous amount of critical backlash in the press for speaking out against the idea that woman are treated and disrespected as something else in the work force, but she never backed down from her insistence that she deserved the commission from the mural. Izquierdo debated
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Growing up, Maria lived with her grandmother and an aunt, as was customary at the time. They raised her around the disciplines of the Catholic Church and her upbringing was characterized by strict adherence to catholic traditions and customs. This is highly represented in her tradition focused
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Recognized as one of Rivera's favorite students, the praise she received by Rivera lead to her undergoing frequent hostility from her peers. In February 1931, Izquierdo left the Academy of Fine Arts because of the animosity she received from her classmates and her frustration with the school's
115:; October 30, 1902 – December 2, 1955) was a Mexican painter. She is known for being the first Mexican woman to have her artwork exhibited in the United States. She committed her life and career to art that displayed her Mexican roots, and held her own among famous make Mexican artists such as
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and critical of the Nationalism Muralists. Celeste Donovan argues that she often "paints a complex picture of social roles of the modern Mexican Women", specifically the role women play in perpetuating Mexican traditions. According to scholar Robin Adèle Greeley, Izquierdo's paintings offer a
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was an essential part of her artistic style and themes used in her work. Izquierdo was celebrated as an artist with a genuine understanding of native and rural traditions, and her altar paintings were recognized at the time for "their delightful indigenous ingenuousness." Her naive painterly
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Prior to Obregón's reforms, European art served as the model in art institutions. His new reforms drew in many of Mexico's most talented artists, commissioning their creation of murals addressing the importance of traditional Mexican values, which were painted on both schools and government
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in the mid-1940s which had a significant effect on her health, work and dexterity, but she persisted. Although her last years were some of the most painful in her life, she did not stop painting until she was physically unable. In December 1955, she died of a second stroke in Mexico City.
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Making it a point to tie her art with Mexican popular tradition, Izquierdo pushed back from what many of her peers at the Academy of Fine Arts were doing. Instead of painting political messages, she painted images that held personal meaning and was rooted in Mexican traditions. Images of
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She often depicted females in a variety of social settings and backgrounds, but only painted herself with her family or alone. She was part of the Contemporáneos, who offered alternative depictions of masculinity as well as different representations of women in modern Mexico. A new
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The first time Izquierdo was cited on women's rights was in 1935 during a trip to Guadalajara for the opening of an exhibition of posters by women artists. In response to a question posed by a leftist journalist about the role of women in the revolutionary struggle, she replied:
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because both woman launched their careers at similar times, the two have very individual styles. At the beginning she would paint still life and portraits. She experimented with many different styles and techniques; such as, oil painting, watercolor, still life, and landscape.
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Above all women must unite and fight together strongly to improve their condition. Women have to cease being luxury objects and transform themselves into a factor within the class struggle; they ought to evolve socially and participate directly in the revolutionary struggle.
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350:(Day of the Dead), the Mexican country side, and Catholic saints were common in her paintings. She saw art as communication to the soul and her frequent images of the circus traced back to her memories visiting the circus with her aunt and grandmother in
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remembers her as "a very cheerful woman with a folk spirit... like a jar full of pure fresh water... The inclination that Maria had for folklore was not that of a distant viewer, she seemed rather to be an insider, like one more folk element."
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Within just her first year at the Academy of Fine Arts, Izquierdo participated in four art exhibitions. The first art exhibit opened on November 19, 1928, and was organized by the Academy's student union, showcasing three of her paintings:
175:, many new reform policies were emphasized, pushing for more social and educational institutions that upheld traditional Mexican beliefs and culture. These ideals resonated with Izquierdo, drawing her to attend the art academy.
613:, she helped establish a foundation for female artists. Maintaining value in art rooted in traditional Mexican values, Izquierdo's art stood out for its ingenious portrayals of Mexico among an area of highly politicized art.
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Añadiría una precisión: incluiría entre los intangibles a la subjetividad. Porque todo eso de lo que estamos hablando y la dirección que toma depende de la subjetividad: emociones y procesos cognitivos
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167:(Academy of Fine Arts). Her move to Mexico City in the 1920s evoked her to explore her growing passion for art and came about the same time a paradigm shift occurred in Mexico. At the same time, the
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diligently against the way men have been treating woman as a lower half of the spectrum as woman never gain the true acknowledgment in the work force and more critical in art. She says,
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Izquierdo's art gained international recognition in 1930 when she became the first Mexican woman to have a solo exhibition in the United States. An exhibition funded and organized by
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and while their professional relationship grew, so did a romantic one. Throughout their relationship, Izquierdo remained independent. Becoming an active part of the
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Always interested in art, Izquierdo spent much of her time alone, teaching herself art techniques. In 1923, she and her family moved to
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of Rivera and David Alfaro Siqueiros, who claimed that Izquierdo lacked the necessary experience for such a high-profile project.
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Grynspan, Rebeca; Izquierdo, María Jesús; Sojo, Ana; Suárez, Estela (2005). "El trabajo, el cuidado, las mujeres y los hombres".
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Izquierdo identified with the ideals and aesthetics of the Contemporáneos, who were dedicated to an apolitical Mexicanness or
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Donovan, Celeste (2010). "Icons Behind Altars: María Izquierdo's Devotional Imagery and the Modern Mexican Catholic Woman".
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deconstruction of 'heroic' Mexican nationalism using the marginalized identity of the female on two distinct levels:
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María Izquierdo's career helped opened the door for many female artists. Her reputation is often compared to that of
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Tarver, Gina (April 1996). "Issues of Otherness and Identity in the Works of Izquierdo, Kahlo, Artaud, and Breton".
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Greeley, Robin Adèle (2000). "Painting Mexican Identities: Nationalism and Gender in the Work of María Izquierdo".
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While her painting, The Jewelry Box, sends a satirical message surrounding the roles of woman roles and her work,
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Mexican Catholic home altars. The altar is erected on ascending tiers, and the shelves are lined with
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In the early 1920s, Izquierdo began associating herself with the Movimiento Pro-Arte Mexicano and the
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the more conventional one of protesting social discrimination against women, and more intriguingly
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grow (who for so many years have been slaves of everything) they get in the way of emancipation.
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Academic staff of Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda"
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Izquierdo had a second marriage, also short-lived, with Chilean painter Raul Uribe.
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buildings. While attending the Academy of Fine Arts, Izquierdo was instructed by
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María Izquierdo et Frida Kahlo : challenging visions in modern Mexican art
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came to an end, bringing along a change of values in Mexico. Through President
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from the School of Paris and although she is not as popularly known as
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This is the only time that Izquierdo argued for group action.
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Sullivan, Edward J. (1989). "María Izquierdo. Mexico City".
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as a hinge point for a variety of pictorial explorations.
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Early on, Izquierdo established herself as a painter of
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and follow her own style of painting. Her culture as a
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The Latin American Institute: University of New Mexico
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rough patch in the mid-1940s when she had her first
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671:The true poetry : the art of María Izquierdo
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220:Liga de Escritres y Artistas Revoluctionaros
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1217:
616:
3818:People from San Juan de los Lagos, Jalisco
1745:
1731:
1467:
1453:
944:
890:
654:"María Izquierdo: arte puro y mexicanidad"
422:, Izquierdo did not identify herself as a
394:Roundabout of Illustrious Persons (México)
234:. One of her colleagues and close friend,
1286:
917:
880:"Maria Izquierdo: Monumento De La Nacion"
791:
789:
787:
730:
728:
726:
651:
566:Learn how and when to remove this message
378:narratives which demonstrate scenes like
1336:. DelMonico Books, Prestel. p. 225.
1067:
993:
991:
825:
785:
783:
781:
779:
777:
775:
773:
771:
769:
767:
709:. Chicago: Fitzroy Dearborn Publishers.
389:
1407:– via Gale In Context: Biography.
1245:
1194:
1184:. Santa Fe: Museum of New Mexico Press.
1164:. National Museum of Women in the Arts.
1111:
1044:2,000 Years of Latin American Portraits
652:Deffebach, Nancy (July–December 2018).
3795:
1230:
1179:
997:
969:
852:
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668:
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988:
764:
743:. Greenwood Press. pp. 115–117.
1331:
1288:10.22201/cieg.2594066xe.2005.31.2032
1195:Morales, Leonor (January 18, 2006).
821:
819:
817:
700:
664:. Medellin – via eafit.edu.co.
504:adding citations to reliable sources
475:
385:
1346:
1026:
707:Dictionary of Women Artists, Vol. 1
13:
3838:20th-century Mexican women artists
2129:Isidro Eduardo Castellanos Paredes
1168:
1096:
1050:
1041:
877:
840:10.1111/j.1557-203X.2004.tb00013.x
645:
14:
3859:
814:
325:
280:Departamento del Distrito Federal
113:María Cenobia Izquierdo Gutiérrez
35:María Cenobia Izquierdo Gutiérrez
2679:Víctor Manuel Hernández Castillo
2664:Desiderio Hernández Xochitiotzin
1753:Past and present members of the
972:María Izquierdo : 1902–1955
480:
165:Escuela Nacional de Bellas Artes
84:Escuela Nacional de Bellas Artes
1385:
1355:
1340:
1325:
1291:(inactive September 17, 2024).
1266:
1239:
1150:
1035:
1029:45 Contemporary Mexican Artists
1020:
491:needs additional citations for
214:. He was said to be her lover.
1426:. Thames and Hudson. pp.
1162:Clara Database of Women Artist
871:
857:. Philadelphia Museum of Art.
846:
800:. New York: Americas Society.
694:
673:. New York: Americas Society.
471:
352:San Juan de los Lagos, Jalisco
226:Initial career and exhibitions
1:
3843:20th-century Mexican painters
3424:Antonio Rodríguez de la Serna
1755:Salón de la Plástica Mexicana
922:. University of Texas Press.
688:
515:"María Izquierdo" artist
130:
1416:Lucie-Smith, Edward (1993).
1046:. San Antonio Museum of Art.
970:Lozano, Luis-Martin (1996).
251:" (The Trial of Toral) and "
7:
3848:20th-century women painters
2089:Francisco Cárdenas Martínez
1899:Gerardo Murillo ("Dr. Atl")
633:
158:
16:Mexican painter (1902–1955)
10:
3864:
3597:José Guillermo Téllez Brun
3454:Tránsito Rojas Santamarina
3364:Jorge Germán Ramírez Nieto
3114:Francisco Moreno Capdevila
2744:Juan Carlos Juárez Arreola
2674:Cuauhtémoc Hernández Landa
1477:Faculty of Arts and Design
1397:Contemporary Women Artists
1332:Fort, Ilene Susan (2012).
796:Ferrer, Elizabeth (1997).
669:Ferrer, Elizabeth (1997).
2954:Ricardo Martínez de Hoyos
2939:Magdalena Martínez Franco
2934:Gustavo Martínez Bermúdez
2659:José Hernández Delgadillo
2594:Consuelo González Salazar
2419:Javier Fernández Helguera
2414:Gabriel Fernández Ledesma
1761:
1572:Gabriel Fernández Ledesma
1562:Francisco Eppens Helguera
1484:
1205:. Oxford University Press
1006:. Yale University Press.
918:Deffebach, Nancy (2015).
701:Gaze, Delia, ed. (1997).
640:Statue of María Izquierdo
600:
98:
90:
79:
60:
30:
23:
3582:Eduardo Talledos Sánchez
2999:Patricia Mejía Contreras
2649:Jesús Gutiérrez Martínez
2529:José de Jesús García Gil
1949:Osvaldo Barra Cunningham
1839:Colette Álvarez Urbajtel
1367:Surrealist Women Artists
617:Personal life and demise
303:Classified by some as a
298:
291:woman and have talent".
3509:Herlinda Sánchez Laurel
3479:Antonio Ruiz El Corcito
3434:Manuel Rodríguez Lozano
2929:Héctor Martínez Arteche
2684:Manuel Herrera Cartalla
2574:Jorge González Camarena
2324:Gonzalo de la Paz Pérez
2269:Alejandro Chacón Pineda
2159:Fernando Castro Pacheco
1769:Gilberto Aceves Navarro
1632:Nicolás Moreno (artist)
1363:"About Maria Izquierdo"
1349:45 Contemporary Artists
1070:The Burlington Magazine
185:Manuel Rodríguez Lozano
3823:Mexican women painters
3662:Sergio Valadez Estrada
3552:Luz Maria Solloa Junco
3494:Cecilia Sanchez Duarte
3429:Antonio Rodríguez Luna
3149:Ignacio Nieves Beltrán
2959:Ángel Mateos Benavides
2919:Ofelia Márquez Huitzil
2734:Alberto Jiménez Quinto
2669:Miguel Hernández Urbán
2534:Adalberto García Ordaz
2444:Manuel Fuentes Estrada
2409:Alfredo Falfán Vivanco
2339:Francisco Díaz de León
2094:Alfredo Cardona Chacón
1819:Ernesto Álvarez Cortés
1814:Ramón Alva de la Canal
1809:David Alfaro Siqueiros
1789:Rodolfo Aguirre Tinoco
1672:Alfredo Ramos Martínez
1502:Ramón Alva de la Canal
1492:Rodolfo Aguirre Tinoco
1180:Craven, David (2006).
1128:10.1093/oxartj/23.1.51
998:Craven, David (2002).
466:
433:
412:
395:
135:Izquierdo was born in
125:David Alfaro Siqueiros
86:(Academy of Fine Arts)
3542:Adriano Silva Pantoja
3464:Mario Romero González
3384:Maria Antonieta Reyes
3224:Luis Ortiz Monasterio
2944:Pedro Martínez Osorio
2864:Catherine Mac Deville
2844:Armando López Becerra
2829:Miguel Ledezma Campos
2624:Jesús Guerrero Galván
2569:Esther González Gómez
2519:Carlos García Estrada
2294:Maria Eugenia Chellet
2279:Carlos Antonio Chávez
2104:Julio Carrasco Bretón
2069:Alfonso Campos Quiroz
1909:Oscar Ávila Soberanes
1874:Gustavo Arias Murueta
1622:Luis Ortiz Monasterio
1381:– via hope.edu.
853:Castro, Mark (2016).
461:
428:
405:
393:
137:San Juan de los Lagos
49:San Juan de los Lagos
3813:Artists from Jalisco
3519:Alfredo Serrano Lara
3504:Sergio Sánchez Ramos
3469:José Luis Rueda Leal
3444:José Julio Rodríguez
3414:Elvia Rivero Chavero
3389:Jesús Reyes Ferreira
3344:Abel Ramírez Águilar
3289:Luz María Pizá Núñez
3214:Carlos Orozco Romero
3094:Vicente Jesús Montes
3004:Deyanira África Melo
2784:Carlos Lamothe Silva
2689:Elena Huerta Muzquiz
2549:Mauricio García Vega
2509:Arturo García Campos
2504:Arturo García Bustos
2359:Francisco Dosamantes
2304:Chungtar Chong López
2219:Erasto Cortés Juárez
2154:Antonio Castro López
2059:Gloria Calero Sierra
1834:Manuel Álvarez Bravo
1804:Rosa María Alfonseca
1687:Sebastián (sculptor)
1582:Arturo García Bustos
1557:Francisco Dosamantes
1547:José Clemente Orozco
1507:Carlos Alvarado Lang
500:improve this article
438:Alegoría del trabajo
121:José Clemente Orozco
3672:Nancy van Overveldt
3637:Guillermo Toussaint
3489:Juan Manuel Salazar
3369:Mario Rendón Lozano
3324:Francisco Quintanar
3219:Mario Orozco Rivera
2579:Melquiades González
2544:Antonio García Vega
2539:Luis García Robledo
2374:Evangelina Elizondo
2344:María Elena Delgado
2334:Antonio Díaz Cortés
2289:Tomas Chávez Morado
2244:José Víctor Crowley
2179:Guillermo Ceniceros
2149:Guillermo Castrejón
2034:Alejandro Caballero
2029:Bruno Pablo Bresani
1824:Jesús Álvarez Amaya
1677:Aurora Reyes Flores
1347:Stewart, Virginia.
1042:Benson, Elizabeth.
1027:Stewart, Virginia.
595:Sueño y premonición
264:Frances Flynn Paine
205:Adolfo Best Maugard
3737:Moisés Zabludovsky
3707:Alfonso Villanueva
3692:Reynaldo Velázquez
3617:Maria Teresa Toral
3547:Waldemar Sjölander
3419:Gilberto Rodríguez
3134:Eduardo Nasta Luna
3079:Roberto Montenegro
2904:Maria Luisa Martin
2884:Francisco Magallán
2839:Rosa Lie Johansson
2789:Carmen Lang Merino
2609:Alfredo Guati Rojo
2584:Silvia H. González
2524:José García Narezo
2514:Héctor García Cobo
2479:José Gama González
2404:Enrique Echeverría
2364:Guillermina Dulché
2319:Alberto de la Vega
2284:José Chávez Morado
2254:Marco Antonio Cruz
2109:Leonora Carrington
2024:Enrique Bostelmann
1829:Lola Álvarez Bravo
1627:Roberto Montenegro
1587:Alfredo Guati Rojo
1542:José Chávez Morado
1512:Luis Arenal Bastar
1424:Latin American Art
1115:Oxford Art Journal
420:Leonora Carrington
396:
348:Día de los Muertos
268:Rene d'Harnoncourt
249:El juicio de Toral
236:Lola Álvarez Bravo
169:Mexican Revolution
3790:
3789:
3732:Mariana Yampolsky
3567:Hermenegildo Sosa
3439:Ignacio Rodríguez
3314:Alejandro Quijano
3264:Héctor Pérez Cruz
2589:Gregorio González
2314:Myriam de la Riva
2169:Elizabeth Catlett
2144:Carmen Castilleja
2139:Fidencio Castillo
2099:Angélica Carrasco
1999:Ignacio M. Beteta
1799:Ernesto Alcántara
1720:
1719:
1537:Julio Castellanos
1517:Margarita Azurdia
1437:978-0-500-20260-9
1393:"María Izquierdo"
1373:on March 12, 2016
1259:978-1-930776-18-0
1198:"María Izquierdo"
1158:"Maria Izquierdo"
1013:978-0-300-08211-1
929:978-0-292-77242-7
864:978-0-87633-271-9
828:Latin Americanist
750:978-0-313-31544-2
737:"María Izquierdo"
716:978-1-884964-21-3
703:"María Izquierdo"
576:
575:
568:
550:
386:Views on feminism
358:) made in 1940.
201:Julio Castellanos
106:
105:
3855:
3772:Francisco Zúñiga
3702:Fernando Vilchis
3682:Zalathiel Vargas
3622:Ángeles Torrejón
3374:María Luisa Reid
3354:Everardo Ramírez
3329:Adolfo Quinteros
3299:Enrique Pontones
3294:Salvador Pizarro
3234:Fernando Pacheco
3154:Leonardo Nierman
3109:Alejandro Moreno
3104:Virginia Morales
3044:Benito Messeguer
2899:Salvador Manzano
2834:Alfredo León Gil
2799:Gerardo Lartigue
2739:Heriberto Juárez
2629:Lorenzo Guerrero
2599:Ignacio Granados
2489:José Julio Gaona
2439:Pedro Friedeberg
2384:Augusto Escobedo
2329:Javier del Cueto
2224:Francisco Corzas
2074:Federico Canessi
1994:Roberto Berdecio
1929:Octavio Bajonero
1924:Ignacio Asúnsolo
1879:Gabriela Arévalo
1747:
1740:
1733:
1724:
1723:
1607:Irving Kriesberg
1567:Manuel Felguérez
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1270:
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1203:Grove Art Online
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253:Cámara con gallo
67:
64:December 2, 1955
45:October 30, 1902
44:
42:
21:
20:
3863:
3862:
3858:
3857:
3856:
3854:
3853:
3852:
3828:Modern painters
3793:
3792:
3791:
3786:
3747:Ángel Zamarripa
3697:Gabriel Vergara
3687:Octavio Vázquez
3652:Cordelia Urueta
3647:Lucinda Urrusti
3592:Leticia Tarragó
3449:Oscar Rodríguez
3404:Antonio Reynoso
3399:José Reyes Meza
3349:Antonio Ramírez
3319:Yolanda Quijano
3274:Aida Petit Jean
3254:Mariano Paredes
3209:Trinidad Osorio
3184:Pablo O'Higgins
3159:Claudia Nierman
3129:Rogelio Naranjo
3124:Carlos Nakatani
3084:Gustavo Montoya
3024:Antonio Mendoza
3019:Leopoldo Méndez
2964:Daniel Manrique
2909:Francisco Marín
2804:Paulina Lavista
2709:María Izquierdo
2699:Francisco Icaza
2694:Rodolfo Hurtado
2634:Xavier Guerrero
2619:Carlos Guerrero
2614:Arturo Guerrero
2459:Guillermo Gadda
2434:Leopoldo Flores
2309:Azteca de Gyves
2274:Blanca Charolet
2189:Enrique Climent
2184:Pedro Cervantes
2174:Alberto Cavazos
2124:Pilar Castañeda
2049:Yolanda Cabrera
2039:Rocío Caballero
1979:Alberto Beltrán
1974:Angelina Beloff
1959:Feliciano Béjar
1944:Silvia Barbescu
1784:Ignacio Aguirre
1757:
1751:
1721:
1716:
1682:Antonio M. Ruíz
1597:María Izquierdo
1522:Alberto Beltrán
1480:
1473:
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648:
646:Further reading
636:
625:She suffered a
619:
607:Marie Laurencin
603:
572:
561:
555:
552:
509:
507:
497:
485:
474:
388:
328:
301:
288:David Siquerios
228:
189:German Gedovius
161:
133:
109:María Izquierdo
102:Cándido Posadas
75:
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56:
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40:
38:
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26:
25:María Izquierdo
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11:
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3820:
3815:
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3787:
3785:
3784:
3779:
3774:
3769:
3767:Nahum B. Zenil
3764:
3759:
3757:Álvaro Zardoni
3754:
3752:Beatriz Zamora
3749:
3744:
3739:
3734:
3729:
3724:
3719:
3714:
3709:
3704:
3699:
3694:
3689:
3684:
3679:
3677:Aniceto Vargas
3674:
3669:
3667:Ángel Vallarta
3664:
3659:
3654:
3649:
3644:
3639:
3634:
3629:
3627:Gerardo Torres
3624:
3619:
3614:
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3589:
3584:
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3574:
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3559:
3554:
3549:
3544:
3539:
3536:
3531:
3529:Naomi Siegmann
3526:
3524:Victor Scareño
3521:
3516:
3511:
3506:
3501:
3499:Carlos Sánchez
3496:
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3311:
3306:
3301:
3296:
3291:
3286:
3284:Ángel Pichardo
3281:
3279:Feliciano Peña
3276:
3271:
3269:Antonio Peláez
3266:
3261:
3256:
3251:
3246:
3241:
3239:Javier Padilla
3236:
3231:
3226:
3221:
3216:
3211:
3206:
3201:
3199:Armando Ortega
3196:
3194:Carlos Olachea
3191:
3186:
3181:
3176:
3174:Isidoro Ocampo
3171:
3169:Luis Nishizawa
3166:
3161:
3156:
3151:
3146:
3141:
3136:
3131:
3126:
3121:
3119:Nicolás Moreno
3116:
3111:
3106:
3101:
3099:Aliria Morales
3096:
3091:
3089:Francisco Mora
3086:
3081:
3076:
3071:
3069:Raúl Monje Poo
3066:
3061:
3059:Alfonso Michel
3056:
3054:Guillermo Meza
3051:
3046:
3041:
3036:
3031:
3026:
3021:
3016:
3011:
3009:Eliana Menassé
3006:
3001:
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2991:
2986:
2984:Arturo Mecalco
2981:
2976:
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2966:
2961:
2956:
2951:
2949:Jesús Martínez
2946:
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2914:Arturo Márquez
2911:
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2874:Maridel Macluf
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2769:Macrina Krauss
2766:
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2746:
2741:
2736:
2731:
2726:
2721:
2719:Carlos Jaurena
2716:
2711:
2706:
2704:Xavier Iñiguez
2701:
2696:
2691:
2686:
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2656:
2651:
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2644:Luis Gutiérrez
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2484:Vicente Gandía
2481:
2476:
2474:Mario Gallardo
2471:
2469:Jesús Gallardo
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2456:
2451:
2446:
2441:
2436:
2431:
2426:
2421:
2416:
2411:
2406:
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2399:Manuel Echauri
2396:
2394:Arturo Estrada
2391:
2389:Jesús Escobedo
2386:
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2369:Armando Eguiza
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2204:Flaviano Coral
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1884:Javier Arévalo
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884:Mexconnect.com
878:Pomade, Rita.
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834:(3–4): 29–45.
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326:Subject matter
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247:" (Seacape), "
232:Contemporáneos
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173:Álvaro Obregón
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68:(aged 53)
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15:
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3379:Walter Reuter
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3309:Antonio Pujol
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3229:Javier Oteiza
3227:
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3207:
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3204:Ignacio Ortiz
3202:
3200:
3197:
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3189:Froylan Ojeda
3187:
3185:
3182:
3180:
3179:Juan O'Gorman
3177:
3175:
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3170:
3167:
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3164:Rodolfo Nieto
3162:
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3074:José Monjaraz
3072:
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3057:
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3049:Adolfo Mexiac
3047:
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3039:Rafael Merino
3037:
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3029:Carlos Mérida
3027:
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3017:
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2989:Ramiro Medina
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2234:Hugo Covantes
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2214:Álvaro Cortés
2212:
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2209:Pedro Coronel
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2199:Vladimir Cora
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2134:Rosa Castillo
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2114:Jorja Carreño
2112:
2110:
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2100:
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2087:
2085:
2084:Gerardo Cantú
2082:
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2067:
2065:
2064:Susana Campos
2062:
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2044:Geles Cabrera
2042:
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2030:
2027:
2025:
2022:
2020:
2019:Ángel Boliver
2017:
2015:
2012:
2010:
2007:
2005:
2004:Helen Bickham
2002:
2000:
1997:
1995:
1992:
1990:
1987:
1985:
1984:Félix Beltrán
1982:
1980:
1977:
1975:
1972:
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1969:Valerio Bello
1967:
1965:
1964:Arnold Belkin
1962:
1960:
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1937:
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1927:
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1914:Alfonso Ayala
1912:
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1859:Anibal Angulo
1857:
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1779:Aurea Aguilar
1777:
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1760:
1756:
1748:
1743:
1741:
1736:
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1725:
1713:
1712:Ángel Zárraga
1710:
1708:
1707:Alfredo Zalce
1705:
1703:
1700:
1698:
1697:Rufino Tamayo
1695:
1693:
1692:Luciano Spano
1690:
1688:
1685:
1683:
1680:
1678:
1675:
1673:
1670:
1668:
1667:Antonio Pujol
1665:
1663:
1660:
1658:
1657:Sergio Peraza
1655:
1653:
1650:
1648:
1645:
1643:
1640:
1638:
1637:Rodolfo Nieto
1635:
1633:
1630:
1628:
1625:
1623:
1620:
1618:
1617:Adolfo Mexiac
1615:
1613:
1610:
1608:
1605:
1603:
1600:
1598:
1595:
1593:
1590:
1588:
1585:
1583:
1580:
1578:
1577:Demián Flores
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1498:
1497:Abraham Ángel
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1076:(1032): 247.
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807:1-879128-15-2
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680:1-879128-15-2
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548:
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534:
531:
527:
524:
520:
517: –
516:
512:
511:Find sources:
505:
501:
495:
494:
489:This section
487:
483:
478:
477:
469:
465:
460:
456:
454:
453:chica moderna
448:
446:
445:
440:
439:
432:
427:
425:
421:
417:
416:Remedios Varo
411:
409:
404:
400:
392:
383:
381:
372:
369:
368:
367:
364:
363:A lo Mexicano
359:
357:
356:Self Portrait
353:
349:
343:
341:
337:
336:Henri Matisse
333:
323:
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316:
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212:Rufino Tamayo
208:
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197:Rufino Tamayo
192:
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181:Rufino Tamayo
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22:
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3782:Celso Zubire
3762:Gerardo Zarr
3657:Luis Valsoto
3572:Rosendo Soto
3562:Juan Soriano
3484:Froylan Ruiz
3474:José L. Ruíz
3459:Rosa Rolanda
3409:Diego Rivera
3249:Uriel Parker
3139:Antonio Nava
3034:Oscar Merino
2974:John Mc.Ghee
2969:Rafael Mazón
2809:Agustín Lazo
2724:Abel Jiménez
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2559:Andrea Gómez
2499:María García
2494:Andrés Garay
2464:Byron Galvez
2429:David Flores
2379:Laura Elenes
2264:Germán Cueto
2194:Arnaldo Coen
2119:Beatriz Caso
2009:Ángel Bracho
1989:Luis Beltrán
1919:Héctor Ayala
1844:Jorge Alzaga
1702:Shino Watabe
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1527:Ángel Bracho
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3808:1955 deaths
3803:1902 births
3777:José Zúñiga
3712:Luis Vizuet
3632:Jorge Tovar
3607:Luis Toledo
3394:Mario Reyes
3339:Alice Rahon
3334:Fanny Rabel
3304:Pedro Preux
3259:Tomás Parra
3244:Sandra Pani
3014:Olga Méndez
2994:Jaime Mejía
2924:Mary Martín
2859:Amador Lugo
2854:Nacho López
2849:Julia López
2819:Paula Lazos
2794:Marisa Lara
2774:Pablo Kubli
2759:Frida Kahlo
2714:Tania Janco
2564:Mauro Gómez
2454:Dina Frumin
2424:Luis Filcer
2299:Julio Chico
2249:Héctor Cruz
2164:Vita Castro
2014:Adrian Brun
1954:Sofía Bassi
1939:Pedro Banda
1894:Luis Arenal
1774:Luis Acosta
1652:Sandra Pani
1612:Jorge Marín
1377:February 8,
658:Co-herencia
611:Frida Kahlo
472:Later works
332:still lifes
315:Frida Kahlo
284:Jose Orozco
153:Mexico City
72:Mexico City
3797:Categories
3064:Flor Minor
2754:Jazzamoart
2604:Irma Grizá
2554:Elva Garma
2349:Olga Dondé
2229:Olga Costa
1849:Pablo Amor
1602:Jazzamoart
689:References
526:newspapers
305:surrealist
131:Early life
91:Occupation
41:1902-10-30
3514:Sebastián
2814:Rina Lazo
2764:James Key
1297:0188-9478
1281:: 41–77.
1136:0142-6540
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938:952187681
382:shrines.
80:Education
1403:March 4,
1305:42624862
634:See also
424:feminist
159:Training
74:, Mexico
55:, Mexico
3534:Sikuame
1762:Artists
1485:Artists
1479:of UNAM
1428:106–108
1209:May 11,
1144:3600461
756:May 10,
540:scholar
310:mestiza
145:Torreón
141:Jalisco
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1301:JSTOR
1235:(27).
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547:JSTOR
533:books
340:Manet
299:Style
2889:Maka
1432:ISBN
1405:2020
1379:2021
1319:link
1293:ISSN
1254:ISBN
1211:2009
1132:ISSN
1078:ISSN
1008:ISBN
976:ISBN
934:OCLC
924:ISBN
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758:2009
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711:ISBN
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519:news
418:and
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