Rodolfo Nieto

serie zoología mental, 1964

Oleo / tela
112 x 145 cm

An example of renovation, no rupture, in the art of the new generation of artist is the painting of Rodolfo Nieto, an artist from Oaxaca who studied at the National School of Painting and Sculpture, La Esmeralda, as a disciple, among others, of Carlos Orozco Romero. If his artistic adventure started in a formative way with a teacher, it was complemented by his self-study trips to Europe, where he successfully exhibited his work in Paris. Although he assimilated the informal lesson of the Parisian school, Rodolfo Nieto must also accept his debt to modern Mexican painting. One can see in his work an open evasion of explicit issues, that is to say the topic, while at the same time he prefers to project his constructive gesture as significant of the pictorial act. This issue has been dealt with previously by Gunther Gerzso, Carlos Mérida and Rufino Tamayo, but especially by Alfonso Michel, whose work functions well as liaison between the artistic ideas of modernity and that which was streamlined as contemporary painting in Mexico. One must also say that some of the iconographic references of Rodolfo Nieto's art come from the ancient primitive storehouse.

Cf. Octavio Paz. Los privilegios de la vista. Arte de México (Privileges of sight. Mexican art). Mexico, Fondo de Cultura Económica, 1987.

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