If Rivera and Kahlo dominate the imagination of publishers and the public, they no longer overshadow scholarship focused on this dynamic period. Estridentismo was launched by poet and law student Manuel Maples Arce in December , in the immediate post-revolutionary period, a time of tremendous intellectual ferment. Flores shows how this irreverent group became increasingly concerned with political and social problems, seeking wider audiences and fighting—like the more famous muralists—to create an art that would benefit the working class. She discusses how the movement incorporated an expanding field of artists, including Edward Weston and Tina Modotti chapter 3 ; reexamines some aspects of Estridentista writing chapter 4 ; and interrogates issues of primitivism chapter 5. Modernists of all stripes will profit from reading this book, which contributes to our ongoing understanding of the avant-garde as a transcontinental, rather than exclusively Eurocentric, phenomenon.
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Skip to main content. You are here Home. By Rachel Bierly. The Avant-Garde movement began in the French military among French left-wing radicals in the late 19th century. The Avant-Garde movement, once exclusively European, migrated to the western hemisphere post World War 1 and adapted to the culture and people of the Americas.
Stridentism not only sparked a newly remodeled Mexican form of the Avant-Garde, but it created dialogue among artists and visionaries that inspired new generations of artists and art movements in Mexico.
In Mexico on the other hand, Avant-Garde movements were unaffected by post-war sentiments and could flourish at a time when European Avant-Garde began to decline. Estridentismo sang praises of modern technology while neither reflecting in retrospection or looking ahead to the future. While his work was a justification and explanation for the Estridentismo movement, it was also a call to arms for his contemporaries. Estridentismo was similar to, if not intertwined with the Modernist movement.
Mexico certainly experienced Modernism in the s as urban life, education, culture, and science which were stagnant during the time of the Mexican Revolution industrialized and expanded at an unprecedented rate. It was in Veracruz and Jalapa that Maples Arce received his formal education before moving to Mexico City in , where he became a lawyer in the Free School of Rights.
On a poster meant to resemble an advertisement, Maples Arce used large bold letters to advertise the title of his work, with a picture of himself dressed as a nobleman under the title, and a list of his fourteen arguments for Estridentismo. San Rafael refers to the town in the West of Mexico that is known for the wealth of its townspeople and the bourgeoisie. San Rafael represents the opposite, a town on the East side of Mexico with a strong blue-collar population.
In this sense, he notes the disparate socio-economic divisions in post-revolutionary Mexico. This is an interesting comment to make especially due to the fact that Maples Arce distributed his first manifest by posting it around the city in the form of an advertisement. In the following introduction to his manifesto and his fourteen arguments, Maples Arce proceeds to praise the beauty of technology, the need for Stridentist reform in the architecture and urban spaces of Mexico, and harsh critiques of his contemporaries.
The manifest shocked many as Maples Arce brought his radical ideas to the forefront of art in the form of a first-person, frantic rant about his new ideas. Siqueiros, who was heavily influenced by the renowned Mexican artist Diego Rivera.
Estridentistas such as Maples Arce and Siqueiros dreamed of a Utopia where their artistic ideas could be expressed in the architecture of a city and urban spaces as well as the culture of the city. Maples Arce and the Estridentismo movement inspired future art movements in Mexico such as the explosion of mural art around the country, and socially conscious art forms that critiqued Mexican politics and society.
Retrieved Wednesday, January 29, Richard Kostelanetz. A Dictionary of the Avant-Gardes. Tatiana Flores. Review: Literature and Arts of the Americas. Journal of World Art. Manuel Maples Arce. Mexico City: Retrieved Wednesday, January 29, Jorge Schwartz. Fondo de Cultura Economica. Las Vanguardias Latinoamericanas. About Author s. Rachel Bierly. Rachel Bierly is a senior at the University of Pittsburgh majoring in Linguistics as well as pursuing minors in Spanish, Chinese and a certificate in Latin American Studies.
Though her major is Linguistics, her focus lies in Latin American languages, culture, and politics. Rachel spent the summer of living and conducting research in Manizales, Colombia regarding the process of demobilization, disarmament, and reintegration for ex-guerrilla combatants.
When Rachel is not working at Panoramas she enjoys traveling, learning new languages, and rock climbing. She hopes to one day use her experience to defend the rights of minority groups and underrepresented communities in the United States and Latin America.
View the discussion thread. See also. Sempre me deixaram triste coisas simples. The Celebration of the Virgen de la Candelaria. Afro-Latino Identities in the U. Argentinian Identity: Diversely Latino.
Mexican Avant-Garde: What is Estridentismo Mexicano