Can Frida Kahlo Leave Mexico? Plans to Relocate a Trove of Paintings by the Famous Artist Spark a Heated Debate: Nearly 400 cultural heritage professionals signed an open letter protesting plans to move a collection… @SmithsonianMag #FridaKahlo #CulturalHeritage #ArtDebate #MexicanArt #ArtNews
Frida Kahlo Works To Return Home To Mexico In 2028 Following Upset #FridaKahlo #MexicanArt #CulturalHeritage #ArtReturn #Mexico
The title points to the china poblana, a dress tradition that became an enduring emblem of Mexican womanhood and national identity, shaped by layered Indigenous, colonial, and transpacific histories. Artist Gladys Roldán-de-Moras, who was born in Monterrey and has spoken about painting Mexican traditions with pride and historical care, uses the dance not as costume spectacle alone but as affirmation that women are the carriers of beauty, continuity, and public cultural presence. In a warmly lit courtyard scene, a ring of young women dances in full, sweeping china poblana dress including white embroidered blouses, bright sashes, shimmering multicolored skirts, red shoes, gold hoop earrings, and ribbons woven through dark hair. Their skin tones are warm brown and tan hues, and their faces are turned toward one another with concentration, pride, and pleasure. Several lift the edges of their skirts in practiced arcs, creating flashes of metallic pink, green, gold, and violet that ripple like music made visible. Overhead, strands of papel picado stretch across the arches, adding movement even in stillness. Behind them stand musicians or charro figures in dark traje-style clothing and broad hats, while a sunlit opening beyond the arcade hints at a larger civic or festive world outside the dance. The painting feels communal rather than individual. No single dancer dominates, and the choreography reads as shared cultural memory embodied through posture, costume, and rhythm. The composition turns movement into heritage. The skirts bloom like flowers around the dancers, and the courtyard architecture frames them almost ceremonially, as if tradition itself is giving them a stage. The work also resonates with the artist’s practice of honoring Mexican and Spanish cultural forms that are often underrepresented in mainstream Western art narratives. “Chinas Poblanas” won the 2023 Frederic Remington Painting Award at Prix de West at the National Cowboy and Western Heritage Museum
“Chinas Poblanas (Women in China Poblana Dress)” by Gladys Roldán-de-Moras (Mexican American) - Oil on Belgian linen / 2023 - National Cowboy and Western Heritage Museum (Oklahoma City, Oklahoma) #WomenInArt #WomensArt #WomenArtists #GladysRoldandeMoras #arttext #NationalCowboyMuseum #MexicanArt
Mexican dinosaurs....
Or dragons!
Have a good one
These are based on a popular candy when I was a kid. Loooong time ago.
#artwork #digitalart #dinosaurs #mexicanart
Leonora Carrington's painting of Grandmother Moorhead's Aromatic Kitchen - Leonora Carrington peint la Cuisine aromatique de grand-mère Moorhead
[Expo] Leonora Carrington - Musée du Luxembourg - Paris
urlr.me/GMK7CD
#LeonoraCarrington #ExpoParis #MuséeDuLuxembourg #ExpoCarrington #LeonoraCarrington #Surrealism #Photography #Tarot #Alchimie #surrealism #mexicanart #modernart #mexicansurrealism
Esto es lo último que hice de los hermanos, este pequeño proyecto va más para el terror y la comedia, subiré de poco a poco 🫡
#mexicanart #art #artemexicano #terror #artistamexicana #kartilustr #Catia👻 #Umbrademitierra #fantasmas #ghosts #phantom #Mexico #Latinoamerica #lallorona #llorona #comedia
También este dibujo fue para mí clase de acuarela, es de katia con sus amigos.
Ellos saben cosas y ven cosas 👀👻
#acuarela #mexicanart #art #oc #artemexicano #terror #artistamexicana #kartilustr #katia👻 #Umbrademitierra #fantasmas #ghosts #phantom #colombiano #mexicana #chilena #amigos #latinos
Realicé estos diseños para mis clases de escultura, pero como Katia es la principal la dejo de primera.
Mis otros dibujos están en Instagram 🤭
www.instagram.com/kartilustr?i...
#art #mexicanart #dibujodigital #oc #drawing #artistamexicana #kartilustr #katia👻 #Umbrademitierra #fantasmas #phantom
Y este fue el resultado final lo hice para el 16 de febrero, día de los amores imposibles🥹
#artedigital #art #amoresimposibles #mexicanart #dibujodigital #oc #artemexicano #terror #drawing #artistamexicana #comedia #hermanos #kartilustr #katia👻 #Umbrademitierra #fantasmas #ghosts #phantom #drawing
#charroart #mexicana #mexicanart #artemexicano #charroculture #traditionalmexican #folkloreart #culturamexicana #mexicantraditions #charrostyle #mexicanheritage #artofmexico #charrolife
Mexican artist Alfredo Ramos Martínez turns womanhood, landscape, and national identity into a kind of theatrical garden poem. Painted in 1929, just before he left Mexico for Los Angeles, this monumental 9-by-12-foot canvas was commissioned by President Emilio Portes Gil as a wedding gift for American aviator Charles and Anne Morrow Lindbergh. That improbable backstory gives the work a diplomatic sparkle, but the painting itself is more than a grand present. Its richly dressed women have often been read as allegorical figures linked to Mexico’s cultural plurality, sometimes to the seasons, and always to beauty staged with intention. Four women stand in a lush, flower-filled garden beneath looping garlands and hanging greenery, with blue mountains stretching across the distance. Their skin tones are fair to medium, and each wears an elegant dress in cool, luminous colors: silvery blue, pale blue, deep green, and cream patterned with blossoms. The woman at far left faces forward with a calm, steady gaze, one hand lifted to her chest. Beside her, a seated woman with long dark braids leans into a cascade of pink and white flowers. The third gathers a floral chain in both hands, while the woman at far right turns toward us in a tiered blue dress and shawl, poised and statuesque. Roses, trumpet-shaped lilies, and low wildflowers crowd the foreground, making the figures feel half portrait, half bouquet. The flowers are not decorative extras. They echo the women’s grace, composure, and abundance. Curator Mark Castro called the picture full of a “feeling of luxury,” and that feels right as it is not luxury as excess, but as fullness via color, bloom, dignity, and presence. After decades out of view, the painting’s rediscovery returned one of Ramos Martínez’s most sumptuous visions to public life.
“Flores Mexicanas” (Flowers of Mexico) by Alfredo Ramos Martínez (Mexican) - Oil on canvas / 1929 - Missouri History Museum (St. Louis, Missouri) #WomenInArt #AlfredoRamosMartinez #RamosMartinez #MissouriHistoryMuseum #MissouriHistoricalSociety #BlueskyArt #art #artText #MexicanArt #MexicanArtist
#atx #austin #austintx #austintexas #calavera #dayofthedead #diadelosmuertos #mexic_arte #mexicanart #mexicanfolkart #parade #vivalavida
#BlueSkyMonday
Our first day in #Oaxaca, had to explore some art...
Meet "Labertino de la muerte" by Sergio Hernández, on display at the Museo de los Pintores.
#MuseumMonday #museum #contemporaryart #mexicanart #ANinMexico
Painting overlooking a mysterious green circular labyrinth with white, black, and red figures titled Labyrinth by Leonora Carrington from 1991.
Labyrinth
oil painting
1991
Leonora Carrington (1917-2011)
British-Mexican
A short biography of the artist...
laurajaenart.com/happy-birthd...
#surrealism #surrealistart #art #leonoracarrington #mexico #mexicanart #modernart #painting #thelabyrinth #c1991 #magicalrealism #cdmx #mexicansurrealism
Mexican artist Diego Rivera painted this in Paris during his Cubist period, and it is also a candid portrait of his life there. A standing woman is his first wife, the artist Angelina Beloff, speaking with their friend and fellow artist Alma Dolores Bastián (nicknamed “Moucha”), who is seated. The setting is tied to their Montparnasse building at 26, Rue du Départ for an everyday studio world reframed through the avant-garde grammar of multiple viewpoints and flattened space. The two women fill a tall canvas built from crisp, interlocking planes. At left, Alma, in a white dress, reclines in a chair. Her bent arm and hands gather around a small book, its warm cover a rare block of earthy color amid cool grays. At right, Angelina, in a deep blue dress, leans slightly forward, hands clasped at her waist as if pausing mid-thought. Their faces, hair, and bodies are “broken” into facets with cheeks, collarbones, and sleeves suggested through angled shapes rather than smooth contour … so we experience them as both people and architecture. Behind the two ladies, a simplified Paris skyline rises in stacked blocks, turning rooftops and walls into a rhythmic backdrop. The mood is intimate but unsentimental showing two artists sharing space, attention, and conversation inside a modern city that feels close enough to press against the figures. The Arkansas Museum of Fine Arts notes Rivera looked out on a “vast sea of rooftops” with a “rumble of trains” nearby, a sensory detail that fits the painting’s angular pulse of city and motion. The work’s comparatively lighter palette hints at Rivera’s next turn when he moved away from abstraction and toward socially legible imagery. Within a few years, shaped by revolution and the impact of Italian frescoes, he redirected his ambition into murals meant for broad public audiences, carrying this hard-won modern structure into storytelling about workers, politics, and Mexican history.
“Dos Mujeres” (Two Women) by Diego Rivera (Mexican) - Oil on canvas / 1914 - Arkansas Museum of Fine Arts (Little Rock, Arkansas) #WomenInArt #DiegoRivera #Rivera #ArkansasMuseumofFineArts #ArkMFA #Cubism #PortraitofWomen #art #AMFA #artText #BlueskyArt #MexicanArt #CubistArt #pintura #MexicanArtist
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
Inside a house in Mexico ⛲️
#mexico #fountain #house #jalisco #mansion #mexicanart #jaliscomexico #art
Here's a mixed media piece I have based on a song "I who bend the y'all grasses " by lingua ignota #veteranartist #queerartist #artist #vfwpost1 #vfw #veteran #drawing #mexicanart #artista #artistamexicano
Lupe Marín sits on a woven, rustic bench in a spare studio interior. She has medium-brown skin, short dark hair swept up, and small earrings. Her white dress falls in broad, heavy folds across her lap with a pale belt at the waist. Both hands are clasped firmly over one knee, the knuckles and tendons modeled with weight and warmth. Thick silver bangles circle each wrist, and a strand of turquoise beads with a carved pendant rests at her chest, paired with a closer, shell collar. Her posture is upright with shoulders set, chin slightly lifted, and mouth parted as if mid-breath. She gazes upward and away from us. Behind her, a mirror leans against a wall reflecting a red-brown window frame and her own presence in a quieter register. The floorboards almost glow honey-yellow, grounding the scene in everyday material life. Rivera’s palette keeps the whites luminous without erasing texture so the portrait feels both intimate and monumental. Painted in 1938, this portrait treats Marín not as just an accessory to Mexican artist Diego Rivera. She was one of his recurring models and an incisive cultural presence in her own right. The studio setting in San Ángel and the emphasis on “Mexican” space and adornment situate her within postrevolutionary modernity as a woman framed by national symbols yet refusing to be reduced to them. The doubled image created by the mirror turns the work into a meditation on identity and how a public figure is seen, and how she might see herself when no one is asking her to pose. That same year, Rivera produced portraits connected to Marín’s novel “La única” (published in 1938), a sharp, scandal-stirring literary portrait of her circle. Beside that context, her upward glance can feel like casual independence while her clasped hands insist on self-possession. The painting becomes less a “muse” image than a declaration that Lupe Marín as author of her own narrative, can be depicted with paint, but not contained by it.
“Retrato de Lupe Marín” by Diego Rivera (Mexican) - Oil on canvas / 1938 - Museo de Arte Moderno (Mexico City, Mexico) #WomenInArt #MuseoDeArteModerno #MAM #MexicanArt #DiegoRivera #Rivera #ModernArt #WomenPortraits #LupeMarín #LupeMarin #arte #pintura #artText #MexicanArtist #art #PortraitofaWoman
"Mariachi Dragon Salsa" T-shirt Design.
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#MariachiDragon 🐉 #SpicySalsa 🔥 #HotSauceArt 🌶️ #DragonIllustration 🐲 #MexicanArt 🇲🇽 #VintageGraphic 🎨 #TeeDesign 👕 #StreetwearCulture 🛹 #CincoDeMayo 🌮
joselorochaart.dashery.com/products/874...
Painted in 1923 by Mexican artist Abraham Ángel, this oil painting places modern femininity at a threshold between inside and outside as well as tradition and change. A young woman with warm coffee-toned skin sits with quiet self-assurance. Her eyes look intently sideways to our right ... steady, alert, and unflinching. She has short, neatly bob-styled dark hair, and her features are simplified with clear outlines and smooth planes of color. Small earrings frame her face, and a long necklace drops to her chest, adding a deliberate sense of personal style. She wears a patterned dress with short sleeves. The fabric is a bright, warm peach tone punctuated by small repeating marks. Her hands rest together at her lap, one gently crossing the other, creating a composed, calm gesture. Behind her, a large window divided into panes becomes a second “portrait” with sky and landscape like panels in a story. Beyond the glass, hills rise in simplified curves, a pale road or river cuts through the scene, and small houses and trees appear in tidy, flattened shapes. The space feels both domestic and expansive. The woman’s cropped hair, direct stare, and fashionable dress align with a decade when more women in Mexico were seeking education and work beyond the home. The portrait doesn’t sentimentalize that shift, it embodies it. The window operates as a social frame: she is presented as someone who belongs to public life even while seated in a private setting. In choosing to center women who could be read as defying expectations, Ángel may also be signaling his own relationship to social norms when he was living semi-openly with Manuel Rodríguez Lozano while building a bold, personal style shaped by the era’s avant-garde circles. The humble support (cardboard) and the crisp, flattened forms strengthen the sense of immediacy. This is not a distant academic ideal, but a contemporary person. She is watching, present, and fully allowed to look elsewhere.
“La chica de la ventana” (The Girl in the Window) by Abraham Ángel (Mexican) - Oil on cardboard / 1923 - Museo de Arte Moderno (Mexico City, México) #WomenInArt #AbrahamÁngel #AbrahamAngel #Ángel #MuseoDeArteModerno #art #artText #arte #MexicanArt #MexicanArtist #MexicanModernism #PortraitofaWoman
Here's one of my favorite art pieces that I've done and a selfie mixed media on vinyl. #veteranartist #queerartist #artist #vfwpost1 #vfw #veteran #drawing #mexicanart #artista #artistamexicano
Diego Rivera, "Two Women and a Child," oil on canvas, 1926; Fine Arts Museums of San Francisco. #diegorivera #mexico #mexicanart #women #modernart #painting #oiloncanvas #arte #art #peinture #museum #artgallery
I definitely recommend ordering some jewelry from her. The designs she comes up with are stunning, I couldn't stop looking at the jewelry once they were finally in my hands 🥹
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💕 #originalcharacter #jewelry #oc:nayeli #mtasfankid #mexicanart
Colorful exterior of a folk art store in Puerto Peñasco, Mexico, with a white facade densely covered in handmade ceramic decorations including suns, moons, fish, lizards, owls, flowers, and sea creatures. The building has a curved roofline adorned with ironwork, pottery pieces, and sculptures, creating a vibrant, eclectic mosaic look under a clear blue sky.
Incredible folk art store in Puerto Peñasco (Rocky Point), Sonora! The facade is covered in handmade suns, moons, owls, fish, lizards, and endless colorful pottery — a true artist's dream right on the street. Mexico's creativity never disappoints! 🌵🎨☀️
#Photography #Mexico #MexicanArt #BajaSonora
Germán Gedovius (Mexico, 1867-1937), "Flowers," oil on canvas, c. 1910; Colección Blaisten, Mexico. #mexico #mexicanart #flowers #stilllife #painting, #art #museum #artgallery
