Kathryn E. O’Rourke
Architecture in Mexico City in the mid-20th century was shaped by rapid economic and urban growth, demographic change, new construction technologies, and politics. Architects adapted modernist idioms and those that evoked historical precedents for new purposes. Key figures who had begun practice earlier in the century, including Mario Pani, Juan O’Gorman, José Villagrán García, and Luis Barragán, designed major new works and strongly influenced the profession, even as a new generation led by Pedro Ramírez Vázquez, Ricardo Legorreta, and Teodoro González de Léon came of age. As they had been since the 1920s, public patrons were the most important clients of modern buildings, which often addressed needs for better housing, education, and health care. The period also saw the rise of modern suburbs and the evolution of the single-family house, as well as the creation of major buildings for increasingly important cultural institutions, especially museums.
As they had in preceding decades, architects used the non-architectural arts, particularly painting, to distinguish their works. The legacy of the Mexican muralist movement was most evident on the facades of major buildings in the new University City, where the influence of international modernist planning principles was also striking. In 1968 Mexico City hosted the Olympics, for which architects, planners, and designers created a network of buildings and images that functioned interdependently to present Mexico as cosmopolitan and historically rooted in its indigenous history. Sprawl and pollution worsened in the 1970s, as the capital came to be dominated by buildings that were not designed by architects. While some observers questioned the relevance of architecture in the face of seemingly unstoppable and uncontrollable growth, talented young architects responded with buildings notable for their monumentality, mass, and sophisticated engagement with historical types.
This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Latin American History. Please check back later for the full article.
That the Mexican mural renaissance is understudied is clear from the fact than not one of its artists has been the subject of a scholarly biography. Moreover, the movement as a whole has usually been viewed through nationalist prejudices and partisan interpretations. A current reevaluation uses the wedge of several hitherto marginalized artists who figure more prominently in documents and chronology than in popular history. Among them, Jean Charlot can be placed securely at the beginning of several major developments, which were continuations of his work in France. At the open air art school of Coyoacán, he helped the young teachers move from impressionism to a geometry-based postimpressionism more appropriate for mural composition. He introduced woodcut, which he had practiced in France and which became the print medium of choice for generations of Mexican artists. His first mural, The Massacre in the Main Temple, was important for its successful use of fresco—immediately adopted as the preferred medium by other muralists—and its dynamic geometric composition, an alternative to Diego Rivera’s static classicism in Creation. Charlot further broadened the thematic and stylistic options of the movement in a series of small oils and in the first studies of the indigenous nude. He continued to nourish his colleagues with the results of his work as an archeological draughtsman at the Chichen Itza expedition of the Carnegie Institution of Washington, DC.
Charlot also participated in the notable collaboration between artists and writers in 1920s Mexico. Along with Manuel Maples Arce, he was on the two-man Direction Committee of the estridentista movement, illustrating books of poetry and joining group exhibitions. His writings are among the earliest discussions of contemporary Mexican art—publicizing the movement in Europe and the United States—and continue to influence interpretation today. His collections of documents and interviews, as well as his personal experience, became the invaluable basis of books like his The Mexican Mural Renaissance, 1920–1925 and numerous articles in several languages. His latest bibliography is 173 pages long. Charlot fulfilled the unique role of insider-outsider, participant-observer, in the Mexican mural renaissance.
Natalia Sobrevilla Perea
The wars of Spanish-American independence were a series of military campaigns that took place in the Americas between 1809 and 1825, which resulted in the creation of more than a dozen republics in the territories that had previously been part of the Hispanic monarchy. Triggered in the short term by the Napoleonic invasion of the Spanish peninsula in 1808, there were more deep-seated reasons, however, that led to the collapse of an empire that had existed for three hundred years. Classic historiography has stressed the importance of the Bourbon Reforms that brought to the fore the contradictions within the Hispanic monarchy and gave rise to a sense of proto-nationalism. These interpretations have given much importance to the role of the Enlightenment and the fear brought by possible social revolution. Some authors consider that these wars were the result of the Americans’ long-held contempt for Europeans. These views consider that struggle for liberation had begun much earlier, possibly as far back as the 1780s, inspired by the American and French Revolutions. More recent historiography has highlighted the war that engulfed Spain itself between 1808 and 1814 as the crucial event that led to fighting in the Americas. This event is seen as not just the trigger for the events to unfold, unleashing conflicts that had been simmering for much longer, but what shook to the ground the archaic but surprisingly durable composite Hispanic monarchy.
This article will discuss the main events that caused the wars, the moments each national historiography has identified as the ones linked to the independence of their particular region, as well as the events themselves. It begins by looking at the historical antecedents, including the Bourbon Reforms, the American, French, and Haitian revolutions, and at the Napoleonic invasion of the Spanish peninsula. It then discusses the creation of juntas in the Americas and how the confrontation between different jurisdictions resulted in war. The article discusses who were the people involved in the wars and the main events that took place.