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Gabriel Fernández Ledesma

El ebanista, 1925

Oleo / tela
80 x 80 cm
GFL001

The aesthetic attitudes assumed by Mexican painters were never homogeneous, so there was never a single artistic ideology for post-revolutionary art. The plurality of languages and stylistic proposals that arose can also be applied to the different political mentalities and revolutionary attitudes that each artist represented, or not, in his art. The differences are so wide that one could say that the only thing on which they agree was the commitment to a desire to create modern art for Mexico. The concept of a Mexican School of Painting is more and more debatable, especially as we put together the mosaic of Mexican art history in its modern period. This piece by Gabriel Fernández Ledesma is symptomatic of this unreachable definition, as it brings together chromatic qualities that seem to have sprung from the open schools, as well as a protocubist composition of an encompassing dynamic movement which fits in with the futurist postulates of Marinetti. All of these are aesthetic interpretations which Fernández Ledesma was familiar with and practiced in Mexico during the second and third decade of the XX century.

Vide Judith Alanís. Gabriel Fernández Ledesma. Mexico, Universidad Nacional Autónoma de México, Escuela Nacional de Artes Plásticas, 1985.

More of this artist

Francisco Díaz de León Fund