Outside Mexico, José María Velasco has few works of art. The National Gallery in Prague owns several of his works and he has a painting Mexico Valley Vatican Museums series. That's it. In 1976, he held his last International Villasco exhibition in San Antonio, Texas and Austin, Texas, in 1976 at the National Gallery of London. Latin American artist.
For those unfamiliar, José María Velasco is a Mexican hero. How many heroes? He was born in 1840 in the city of Temascalcingo in the country, and the name of the administrative town was changed from San Miguel Temascalcingo to temascalcingo de josémaría Velasco in 1945 in honor of him. The central culture of the town, Josémartín Velasco, devoted his works of art. The Del Paisaje José María Velasco Museum is located in Toluca de Lerdo, the capital of Mexico. Galería José María Velasco in Mexico City is a public space with contemporary Mexican artists. His heroic status comes down to being the founder of Mexican nationalist art, his skills in the country’s landscape and cultural platforms he built for later Mexican artists such as Diego Rivera and Frida Kahlo.
Velasco learned to paint at the San Carlos Academy in Mexico City in the mid-1850s, and was taught by Eugenio Landesio, an Italian artist who was carefully designed in a romantic European style (think Caspar David David Friedrich caused the unconscious landscape). Velasco is also studying botany and geology, and Landesio helps him transfer his passion for nature to the canvas. By the 1870s, Velasco had already begun in his Mexico Valley Series, painting highlands on the outer edge of Mexico City. 1877 series of installments, Mexican valley from Mount San Isabelincluding two clues about his determination to advocate Mexican nationalism. Since 1821, Nopal Cactus and Golden Eagle have appeared on the Mexican flags, where Velasco added them, attracting the eyes to the bottom of the painting. Draw two years ago Mexico Valley From a perspective, painting is a rich exercise. Extensive screen view, from the bottom right corner to the snowy mountain in the background. It is also an example of Verasco's obsession with geology. The rock outcrops in the painting are faithfully presented, but magnified, and the light touch of Velasco becomes obvious. His brushes are lively and gestured, not as thoughtful as they were originally. This is a gift from Velasco. This is a painter who has not been screwed up. His wham style is similar to his geological interests Rocas Paintings started in 1894. Again, the rocks are presented with the faithful thriving of Verasco, but check out the cloud above. They looked like they were drawn by a man, rushing to take the bus and doing better for it.
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In 1876, General Porfirio Díaz held a military coup in Mexico, overthrew the government and began a period of economic growth, mixed with harsh authoritarianism. The period of Porfirio's reign, which historically characterized the Polyato era in Mexico, brought industrialization to the country, and Velasco painted a shot of change. Two paintings, Goatherd by SanÁngel Starting from 1861 and 1863, it tells the story of the emergence of a factory in the landscape. The river next to the plant was blocked to capture water supply to the building. Smoke rolled from the chimney of the factory. At that time, San Angel was a small village outside Mexico City. Now, this is a wealthy community in the city. Painted in 1887, a new industrial complex Textile factory in Puebla La Carolina On the horizon, squat carefully between lush vegetation and snow-covered volcanic peaks.
Velasco also painted the socio-cultural history of Mexico backwards. King Nissaharkoyoye's bathing ground Represents a corner of an ancient Aztec Botanical Garden on the Texcotzingo ruins, twenty miles from Mexico City. Velasco's interest in portraying geology is another opportunity, as the chisel curves and edges of the bathtub contrast sharply with the fragile rock outcrops. The Aztec pre-structure built in the ancient city of Teotihuacán also attracted Velasco's imagination. The Pyramid of the Sun in Teotihuacán Depicting the largest artificial structure of Teotihuacán, Velasco chose to paint from above, allowing the eagle eyes to admire the vast landscape around the pyramid. Same pyramid features Pyramid of the sun and the moonbut this time, Velasco arrived on foot, and the twin structure's sight revealed its horizon in the bushes. All three paintings were created in 1878.
Velasco's passion for botany is shown throughout the exhibition. Early work in 1862, The Country Bridge in St. Angelno longer about the ridiculous shaking bridge, but more about the majesty of the rough tree, its arm-like branches cradle on the planks. The stars of the show Kakon, Oaxaca (Painted in 1887) is a huge cactus. Velasco includes a standing figure in its shadow to clear the huge size of things. Pacho's Forest Since 1875, it has been a dense bush, Mafia Ye Gentle and careful.
As Velasco approaches the end of his life, his style becomes looser and more works are unfinished. Eruption1910 oiled on a blank postcard is a messy, dirt work of art that tends to be expressionist. By the way, it was the year when the rule of General Porfirio Díaz ended, and a decade of Mexican revolution poured into life. José María Velasco died two years later. He is still painting on postcards, not finished, the story he is studying Cloud Research One morning, he passed away.
“José María Velasco: Views of Mexico” works on multiple levels. His art is everywhere in Mexico, appearing on everything from cups to placemats, and the exhibition illustrates why his paintings are the root of national pride. Equally important, landscape painting can be said to be a bit boring, but Velasco's work is not because he luxuriously conveys his passion for the local environment. Entering the boat with the courage of paint, as you wish, can be a engaging experience. Perhaps now, after advocating the prosperity of Velasco, the National Gallery will have more and equally fascinating exhibitions in the rich culture of South America.
“José María Velasco: Views of Mexico“It will be at the National Gallery in London until August 17, 2025. Starting in September, the exhibition will last at the Minneapolis Art Institute of Art until January 2026.
