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Painted in 1922, this work comes from an important early moment in Guatemalan artist Carlos Mérida’s career, when he was shaping a modern visual language that drew on both European avant-garde simplification and the Indigenous and popular cultures of Guatemala and Mexico. Rather than painting anecdotal action or social drama, he makes a pair of women feel timeless and iconic. 

Two women stand close together against a vivid green background, filling almost the whole painting. The woman at left faces forward, her expression calm and steady, with almond-shaped eyes, long dark braids, and a black rebozo striped with soft pink lines draped over her shoulders and arm. A wedge of a white shirt and a blue skirt appear beneath it. The woman at right turns in profile toward her companion. Her black hair is center-parted and braided, and she wears a round earring and a pink patterned garment banded with blue and gold-like dots. Their skin is rendered in warm brown tones with their features simplified into clear outlines and smooth planes. Tiny houses perch on distant hill made from thin, curving lines, giving the scene a dreamlike sense of place rather than a fully described landscape. The sitters are not identified, but Mérida presents them with dignity, gravity, and quiet monumentality.

Their stillness, flattened forms, and patterned textiles turn everyday dress into structure, rhythm, and design. Metepec names a real place, yet the painting resists mere ethnographic description. It becomes something more lyrical and distilled. The small houses behind them hint at village life, but the figures dominate the picture with a sculptural calm that suggests presence, memory, and cultural continuity. Mérida spent much of his life in Mexico and was especially admired for bringing modernist abstraction into conversation Indigenous and Latin American sources. Here, that synthesis is tender rather than loud as two women become carriers of beauty, place, and identity.

Painted in 1922, this work comes from an important early moment in Guatemalan artist Carlos Mérida’s career, when he was shaping a modern visual language that drew on both European avant-garde simplification and the Indigenous and popular cultures of Guatemala and Mexico. Rather than painting anecdotal action or social drama, he makes a pair of women feel timeless and iconic. Two women stand close together against a vivid green background, filling almost the whole painting. The woman at left faces forward, her expression calm and steady, with almond-shaped eyes, long dark braids, and a black rebozo striped with soft pink lines draped over her shoulders and arm. A wedge of a white shirt and a blue skirt appear beneath it. The woman at right turns in profile toward her companion. Her black hair is center-parted and braided, and she wears a round earring and a pink patterned garment banded with blue and gold-like dots. Their skin is rendered in warm brown tones with their features simplified into clear outlines and smooth planes. Tiny houses perch on distant hill made from thin, curving lines, giving the scene a dreamlike sense of place rather than a fully described landscape. The sitters are not identified, but Mérida presents them with dignity, gravity, and quiet monumentality. Their stillness, flattened forms, and patterned textiles turn everyday dress into structure, rhythm, and design. Metepec names a real place, yet the painting resists mere ethnographic description. It becomes something more lyrical and distilled. The small houses behind them hint at village life, but the figures dominate the picture with a sculptural calm that suggests presence, memory, and cultural continuity. Mérida spent much of his life in Mexico and was especially admired for bringing modernist abstraction into conversation Indigenous and Latin American sources. Here, that synthesis is tender rather than loud as two women become carriers of beauty, place, and identity.

“Mujeres de Metepec” (Women of Metepec) by Carlos Mérida (Guatemalan) - Oil on canvas / 1922 - Museum of Fine Arts, Houston (Texas) #WomenInArt #CarlosMerida #CarlosMérida #Mérida #Merida #MuseumofFineArtsHouston #MFAH #LatinAmericanArt #art #artText #GuatemalanArt #GuatemalanArtist #arte #1920sArt

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Painted in 1931, this work shows artist Rufino Tamayo charting a path different from the more overtly political Mexican muralists of his era. Born in Oaxaca and active in Mexico City, he often drew on folk forms, everyday subjects, and Indigenous visual memory while insisting on painting’s sensory and poetic power. 

Two women streak across the night sky as if carried by weather, spirit, or dream. Their bodies angle forward in parallel, wrapped in white garments that flutter like banners. Tamayo paints their skin in warm reddish and rose tones that glow against a deep blue-black city below. Under them, an urban world feels dense and modern as a bridge arches across the scene, buildings press together in shadow, and electric wires cut diagonally through the composition. A bright moon hovers at upper right, turning the sky theatrical and strange. The women appear Indigenous, though not rendered as portraits. One visible face is simplified, their bodies elongated, and their movement is more symbolic than literal. The painting holds a charged contrast between human softness and mechanical lines, between ancestral presence and the speed of the modern city. Nothing here is still. Even the wires seem to vibrate.

The “messengers” could be perceived as carriers of culture moving through modernity without being erased by it. Their flight is exhilarating but also uncanny. Are they delivering news, crossing between worlds, or embodying memory itself? The electric lines echo their motion, making technology part of the rhythm rather than merely the setting. That tension gives the picture its force. It feels both local and universal, grounded in 1930s Mexico yet open to myth, dream, and atmosphere. Tamayo turns the city into a moonlit nightscape and the women into living signs of continuity, movement, and transformation.

Painted in 1931, this work shows artist Rufino Tamayo charting a path different from the more overtly political Mexican muralists of his era. Born in Oaxaca and active in Mexico City, he often drew on folk forms, everyday subjects, and Indigenous visual memory while insisting on painting’s sensory and poetic power. Two women streak across the night sky as if carried by weather, spirit, or dream. Their bodies angle forward in parallel, wrapped in white garments that flutter like banners. Tamayo paints their skin in warm reddish and rose tones that glow against a deep blue-black city below. Under them, an urban world feels dense and modern as a bridge arches across the scene, buildings press together in shadow, and electric wires cut diagonally through the composition. A bright moon hovers at upper right, turning the sky theatrical and strange. The women appear Indigenous, though not rendered as portraits. One visible face is simplified, their bodies elongated, and their movement is more symbolic than literal. The painting holds a charged contrast between human softness and mechanical lines, between ancestral presence and the speed of the modern city. Nothing here is still. Even the wires seem to vibrate. The “messengers” could be perceived as carriers of culture moving through modernity without being erased by it. Their flight is exhilarating but also uncanny. Are they delivering news, crossing between worlds, or embodying memory itself? The electric lines echo their motion, making technology part of the rhythm rather than merely the setting. That tension gives the picture its force. It feels both local and universal, grounded in 1930s Mexico yet open to myth, dream, and atmosphere. Tamayo turns the city into a moonlit nightscape and the women into living signs of continuity, movement, and transformation.

“Mensajeras en el viento” (Messengers in the Wind) by Rufino Tamayo (Mexican) - Oil on canvas / 1931 - Los Angeles County Museum of Art (Los Angeles, California) #WomenInArt #RufinoTamayo #Tamayo #MexicanArt #LACMA #LatinAmericanArt #Modernism #MexicanArt #arte #SurrealModern #art #artText #1930sArt

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Today is #WorldArtDay. Check some e-books tinyurl.com/zkxjppsw on #LatinAmericanArt from @stanfordulibraries.bsky.social & enjoy these colorful #MissionDistrictMurals in #SanFrancisco. @adiazcayeros.bsky.social @spantoja.bsky.social

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La Familia, acrylic on paper.
#art #arte #kunst #portrait #retrato #LatinAmericanArt #ArteLatinoamericano #illustration #Oaxaca #Mexico

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Can’t decide if this is done or not. Had planned to add more but a few people have independently asked to buy it as is. Acrylic on corrugated tin,previously part of my late neighbor’s bull corral.
#art #arte #kunst #painting #pintura #portrait #retrato #WomenInArt #LatinAmericanArt #Oaxaca #Mexico

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Painted in the year of Mexican artist Frida Kahlo’s divorce from Diego Rivera, this double self-portrait stages a visible split: love and loss as well as attachment and self-preservation. Two seated versions of Kahlo hold hands on a simple bench, facing us with steady, unsmiling expressions. Both have medium-brown skin, dark hair pulled up, and a bold unibrow that anchors their face. The left Frida wears a high-necked white lace dress in a European style. The right Frida wears a vivid dress associated with Tehuana clothing including a blue bodice with yellow accents and a full olive-green skirt. Each chest is opened to reveal a heart. A thin red blood vessel threads between them like a cord, linking heart to heart across the space. In the left figure’s lap, a small surgical clamp pinches a cut vessel as blood falls onto the white skirt in dark red stains. The right figure calmly holds a small oval portrait (a tiny image of Diego Rivera) in one hand. Behind them, a turbulent sky of gray-blue clouds swirls, amplifying the sense of exposure and emotional weather.

The Tehuana-dressed Frida is often read as the “beloved” Frida and connected to Rivera through the miniature portrait and the unbroken vessel while the European-dressed Frida bleeds where that bond is severed. Kahlo turns private pain into anatomy with hearts rendered as organs, not symbols, insisting that heartbreak is bodily, real, and survivable only through intervention (the clamp) and care (the clasped hands). The work also holds Kahlo’s layered identity of Indigenous Mexico and European ancestry without choosing one over the other. The stormy background refuses closure because this isn’t a tidy before/after, but a moment of radical honesty where two selves sit together, witness each other, and stay.

Painted in the year of Mexican artist Frida Kahlo’s divorce from Diego Rivera, this double self-portrait stages a visible split: love and loss as well as attachment and self-preservation. Two seated versions of Kahlo hold hands on a simple bench, facing us with steady, unsmiling expressions. Both have medium-brown skin, dark hair pulled up, and a bold unibrow that anchors their face. The left Frida wears a high-necked white lace dress in a European style. The right Frida wears a vivid dress associated with Tehuana clothing including a blue bodice with yellow accents and a full olive-green skirt. Each chest is opened to reveal a heart. A thin red blood vessel threads between them like a cord, linking heart to heart across the space. In the left figure’s lap, a small surgical clamp pinches a cut vessel as blood falls onto the white skirt in dark red stains. The right figure calmly holds a small oval portrait (a tiny image of Diego Rivera) in one hand. Behind them, a turbulent sky of gray-blue clouds swirls, amplifying the sense of exposure and emotional weather. The Tehuana-dressed Frida is often read as the “beloved” Frida and connected to Rivera through the miniature portrait and the unbroken vessel while the European-dressed Frida bleeds where that bond is severed. Kahlo turns private pain into anatomy with hearts rendered as organs, not symbols, insisting that heartbreak is bodily, real, and survivable only through intervention (the clamp) and care (the clasped hands). The work also holds Kahlo’s layered identity of Indigenous Mexico and European ancestry without choosing one over the other. The stormy background refuses closure because this isn’t a tidy before/after, but a moment of radical honesty where two selves sit together, witness each other, and stay.

“Las dos Fridas” (The Two Fridas) by Frida Kahlo (Mexican) - Oil on canvas / 1939 - Museo de Arte Moderno (Mexico City, Mexico) #WomenInArt #WomensArt #WomanArtist #WomenArtists #FridaKahlo #Kahlo #art #arte #artText #MuseoDeArteModerno #MAM #SelfPortrait #MexicanArt #MexicanArtist #LatinAmericanArt

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Personajes Geometricos
oil on board
2022
Jorge Della Sala
Argentina

#art #artist #contemporaryart #painting #oilpainting #geometricart #postmodernart #argentinianart
#arteconstructivo #escueladelsur #latinamericanart
#artegeometrico #constructivismo
#arteargentino#artecontemporane

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Credit: Blas Quezada aka El Wawita (Santiago, Chile).

#dibujantechileno #dogsinart #dachshund #dogdrawing #animalart #blasquezada #catsinart #catdrawing #teckel #tabbycat #catdrawing #chileanartist #art #artsky #dog #dogsky #cat #catsky #contemporarydrawing #latinamericanart #animaldrawing

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Public Program | The Institute of Fine Arts, NYU

📍IFA, New York | 💻 Online option available

🔗Learn more: ifa.nyu.edu/events/date/...

#IFANYU #LatinAmericanArt #ArtHistory #Colloquium #PreColumbianArt #ColonialArt #ModernArt #ArtHistoryMatters

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#SurrealismoCognitivo #LVCCA #ArteContemporaneo #ArteActual #ArteDeColeccion #ColeccionismoDeArte #CuraduriaDeArte #ArtCurators #ArtCollectors #ContemporaryArtCollectors #LatinAmericanArt #MexicanContemporaryArt #ConceptualArt

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MURAL DE LA ESCUELA VETERINARIA FMC MEXICO
#SurrealismoCognitivo #LVCCA #ArteContemporaneo #ArteActual #ArteDeColeccion #ColeccionismoDeArte #CuraduriaDeArte #ArtCurators #ArtCollectors #ContemporaryArtCollectors #LatinAmericanArt #MexicanContemporaryArt #ConceptualArt

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#SurrealismoCognitivo #LVCCA #ArteContemporaneo #ArteActual #ArteDeColeccion #ColeccionismoDeArte #CuraduriaDeArte #ArtCurators #ArtCollectors #ContemporaryArtCollectors #LatinAmericanArt #MexicanContemporaryArt #ConceptualArt #CognitiveSurrealism #InvestInArt
@lvccamx.bsky.social

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#SurrealismoCognitivo #LVCCA #ArteContemporaneo #ArteActual #ArteDeColeccion #ColeccionismoDeArte #CuraduriaDeArte #ArtCurators #ArtCollectors #ContemporaryArtCollectors #LatinAmericanArt #MexicanContemporaryArt #ConceptualArt #CognitiveSurrealism #InvestInArt
@lvccamx.bsky.social

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🖼 Image credit:
Sarah Grilo, Art Museum of the Americas

#CFP #CallForPapers #LatinAmericanArt #CaribbeanArt #ArtHistory #EmergingScholars #ModernArt #IAandA #AMA
(5/5)

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#SurrealismoCognitivo #LVCCA #ArteContemporaneo #ArteActual #ArteDeColeccion #ColeccionismoDeArte #CuraduriaDeArte #ArtCurators #ArtCollectors #ContemporaryArtCollectors #LatinAmericanArt #MexicanContemporaryArt #ConceptualArt #CognitiveSurrealism #InvestInArt
@lvccamx.bsky.social

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Preview
Report Reveals how International Capital Financed the Murder of Berta Cáceres Report reveals that international development bank funds were used to finance the murder of Honduran activist Berta Cáceres

International "development" banks: Your money financed an assassination. A report links your funds to the murder of #BertaCáceres

👉 wp.me/pdD3iE-vEG 🐝

#humanrightsdefenders #landdefenders #cop30 #sustainabledevelopment #honduras #climatechange #sustainablefarming #latinamericanart #resistence

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Las Chicas de Santa Catarina Quianalana, acrylic on handmade paper.

#art #painting #arte #kunst #AcrylicPainting #illustration #pintura
#portfolioday
#WomanArtist
#LatinAmericanArt #oaxaca #mexico

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In the Peach Orchard, acrylic on corrugated tin (printed with juice labels).

#art #painting #arte #kunst #AcrylicPainting #illustration #pintura
#portfolioday
#WomanArtist
#LatinAmericanArt #oaxaca #mexico

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El Copal, acrylic on wood.
#art #painting #oaxaca #mexico #latinamerica #AcrylicPainting #illustration
#portfolioday
#WomanArtist
#LatinAmericanArt

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A young barefoot girl holding out a bowl stands facing us on a row of train tracks. Beneath her is evenly spaced wooden railroad ties washed in warm browns and dusty rose tones while the rails are painted a cool blue-gray that frames her like a narrowing corridor. She has medium-brown skin and straight black hair parted in the middle and braided into two thick plaits. Her face is calm but guarded heavy-lidded eyes, a firm mouth, and a stillness that reads as tired, resolute, and deeply focused. She wears a cream short-sleeved blouse with blue stitched trim along the neckline and sleeve hems. At her waist sits a wide, pale blue sash that bunches in folds over a long, dark skirt that falls to her ankles. Her feet are planted on the ties, toes splayed slightly, emphasizing the texture and hardness of the surface. Close to her chest, both hands cradle a rounded yellow bowl filled with clustered purple like fruit or gathered goods rendered with soft watercolor blooms.

She is standing in a channel of movement and modern infrastructure that might imply passage, distance, and forces larger than a single life. The rails’ lines pull our eye backward, suggesting a path already laid down, while the girl’s front-facing stance and the holding up the bowl creates a tension between motion and pause. The vessel becomes a focal point of care and necessity as it symbolize basic food or the larger fragile margin of daily survival. Bare feet heighten vulnerability, yet Mexican artist Diego Rivera’s simplified, weighty forms lend her a quiet monumentality. She is not decorative, but dignified and not to be ignored. The tracks feel symbolic of social currents like labor, migration, and economic change while the girl’s steady grip and level stance insist on personhood within those currents. The sitter is not identified, allowing her to be both a child and part of Rivera’s broader meditation on Mexican girlhood seen at the intersection of tradition, work, and a rapidly transforming world.

A young barefoot girl holding out a bowl stands facing us on a row of train tracks. Beneath her is evenly spaced wooden railroad ties washed in warm browns and dusty rose tones while the rails are painted a cool blue-gray that frames her like a narrowing corridor. She has medium-brown skin and straight black hair parted in the middle and braided into two thick plaits. Her face is calm but guarded heavy-lidded eyes, a firm mouth, and a stillness that reads as tired, resolute, and deeply focused. She wears a cream short-sleeved blouse with blue stitched trim along the neckline and sleeve hems. At her waist sits a wide, pale blue sash that bunches in folds over a long, dark skirt that falls to her ankles. Her feet are planted on the ties, toes splayed slightly, emphasizing the texture and hardness of the surface. Close to her chest, both hands cradle a rounded yellow bowl filled with clustered purple like fruit or gathered goods rendered with soft watercolor blooms. She is standing in a channel of movement and modern infrastructure that might imply passage, distance, and forces larger than a single life. The rails’ lines pull our eye backward, suggesting a path already laid down, while the girl’s front-facing stance and the holding up the bowl creates a tension between motion and pause. The vessel becomes a focal point of care and necessity as it symbolize basic food or the larger fragile margin of daily survival. Bare feet heighten vulnerability, yet Mexican artist Diego Rivera’s simplified, weighty forms lend her a quiet monumentality. She is not decorative, but dignified and not to be ignored. The tracks feel symbolic of social currents like labor, migration, and economic change while the girl’s steady grip and level stance insist on personhood within those currents. The sitter is not identified, allowing her to be both a child and part of Rivera’s broader meditation on Mexican girlhood seen at the intersection of tradition, work, and a rapidly transforming world.

"Young Mexican Girl" by Diego Rivera (Mexican) - Watercolor on paper / c. 1935–1937 - Rose Art Museum (Waltham, Massachusetts) #WomenInArt #DiegoRivera #Rivera #RoseArtMuseum #PortraitofaGirl #Watercolor #art #artText #BlueskyArt #ModernArt #LatinAmericanArt #MexicanArt #MexicanArtist #ArteMexicano

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#SurrealismoCognitivo #LVCCA #ArteContemporaneo #ArteActual #ArteDeColeccion #ColeccionismoDeArte #CuraduriaDeArte #ArtCurators #ArtCollectors #ContemporaryArtCollectors #LatinAmericanArt #MexicanContemporaryArt #ConceptualArt #CognitiveSurrealism #InvestInArt @lvccamx.bsky.social

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#SurrealismoCognitivo #LVCCA #ArteContemporaneo #ArteActual #ArteDeColeccion #ColeccionismoDeArte #CuraduriaDeArte #ArtCurators #ArtCollectors #ContemporaryArtCollectors #LatinAmericanArt #MexicanContemporaryArt #ConceptualArt #CognitiveSurrealism #InvestInArt

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#SurrealismoCognitivo #LVCCA #ArteContemporaneo #ArteActual #ArteDeColeccion #ColeccionismoDeArte #CuraduriaDeArte #ArtCurators #ArtCollectors #ContemporaryArtCollectors #LatinAmericanArt #MexicanContemporaryArt #ConceptualArt #CognitiveSurrealism #InvestInArt

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Portrait of Maria, red clay artist from San Marcos Tlapazola. Acrylic on corrugated tin printed with beer caps.
#art #painting #popart #latinamericanart #portraitpainting #oaxaca #mexico

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Image credit:
St. Michael Archangel, Attributed to Basilio de Santa Cruz Pumacallao, c. 1661–1700
Museo de América

#MuseoDeAmérica #CuzcoPainting #ViceregalArt #ColonialArt #AndeanArt #LatinAmericanArt #ArtHistory #MuseumExhibition #CulturalHeritage
(4/4)

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El Tío, acrylic on wood.
#art #painting #latinamericanart #portraitpainting #oaxaca #mexico

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La Luchadora de Guadalupe, acrylic on wood, ©️Jean Foss, 2002

#virgindeguadalupe #laguadalupana #painting #oaxaca #mexico #popart #latinamericanart

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#CFP #ArtHistory #HistoriaDelArte #CulturalStudies #EstudiosCulturales #FeministArtHistory #Feminismo #TransatlanticStudies #Transatlantico #ExileStudies #DiasporaStudies #SoundArt #LatinAmericanArt #ArteLatinoamericano #EuropeanArt #SigloXX #20thCentury #ResearchConference #CallForPapers
(7/7)

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#TCU #TCUSchoolofArt #ArtHistory #AncientAmericas #ColonialLatinAmerica #ArtHistoryJobs #AcademicJobs #MuseumStudies #LatinAmericanArt #ArtofTheAmericas #HigherEdJobs #TCUFineArts #FortWorthArts #DFWArts #ProfessorLife
(6/6)

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"Lotty Rosenfeld: Disobedient Spaces" is made possible through generous financial support from Teiger Foundation and the collaboration of the Fundación Lotty Rosenfeld.

#diamelaeltit #lottyrosenfeld #teigerfoundation #lottyrosenfeldfundacion #latinamericanart #chileanart #activistart

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