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Art in 18th- and early 19th-century Latin America was more than just a visual medium—it became a vital tool for expressing national identity and emotional connection. This exhibition highlights works like José Agustín Arrieta’s Tertulia de pulquería, José María Velasco’s The Valley of Mexico, and Diego Rivera’s The Arsenal to explore how art linked individuals to their cultural heritage while challenging societal norms. Drawing on the perspectives of Dr. M. Flores, Max Grillo, and Manuel Amábilis, we examine art’s ability to bridge tradition and modernity.

In the mid-18th century, as Latin America faced the challenges of post-independence, art became a means of exploring the complexities of national identity. Dr. M. Flores’ reflections on melancholic art reveal the tension between the promises of political progress and the realities of everyday life. Arrieta’s Tertulia de pulquería (1851) offers a glimpse into the informal social interactions and shifting gender dynamics of the time, grounding national identity in the lived experiences of ordinary people.

By the late 18th century, the forces of industrialization and modernization were shaping the region, sparking calls to preserve cultural heritage. Max Grillo’s focus on art’s emotional impact over technical skill resonates with Velasco’s The Valley of Mexico (1875). Velasco’s work captures the beauty of Mexico’s landscape while reflecting on its historical struggles, evoking a sense of nostalgia and unity during a time of political change.

In the early 19th century, following the Mexican Revolution (1910–1920), art continued to evolve as a catalyst for social transformation. Manuel Amábilis envisioned revolutionary art as a force for healing and empowerment, a vision realized in Diego Rivera’s The Arsenal (1928). Rivera’s murals bring workers, women, and Indigenous figures to the forefront, emphasizing solidarity and cultural renewal while confronting the legacies of colonialism.

This exhibition invites visitors to consider how Latin American art from the 18th to early 19th centuries not only reflected historical shifts but actively shaped them. By connecting personal and collective experiences, the art of this era demonstrates creativity’s enduring power to foster unity, pride, and reflection.

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Flores, Manuel María. “Arte Melancólico.” El mundo ilustrado (México, D. F., México). No. 5. February 4, 1900.

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José Agustín Arrieta’s Tertulia de pulquería (1851) offers a glimpse into the lives of everyday people in 18th-century Mexico, set against the vibrant backdrop of a pulquería, or tavern. Departing from the focus on political leaders and grand historical events often seen in national art, this painting highlights the informal interactions that played a vital role in shaping cultural identity. Dr. M. Flores notes the tension between the lively, informal aspects of daily life in Latin America and the melancholic tone frequently reflected in national art. Arrieta’s scene captures this interplay, depicting men in animated conversation, humor, and relaxation, creating a contrast to the solemnity of political narratives.

The painting also underscores the absence of women, reflecting the male-dominated nature of public life and social spaces. As Flores observes, women were often excluded from such environments, perceived as limiting male camaraderie. This exclusion is subtly echoed in the painting’s composition, where a central couple appears strained and disconnected, introducing a layer of tension to the otherwise lively scene. By focusing on the experiences of ordinary people, Arrieta’s work challenges elite-centric narratives in Mexican art, inviting viewers to reconsider whose stories are celebrated in the construction of national identity.

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José Agustín Arrieta, Tertulia de pulquería, 1851. Oil on canvas.

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José Agustín Arrieta, Tertulia de pulquería, 1851. Oil on canvas.

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José Agustín Arrieta, Tertulia de pulquería, 1851. Oil on canvas.

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José Agustín Arrieta’s Tertulia de pulquería (1851) captures the informal social interactions of 18th-century Mexico, focusing on ordinary people in a pulquería. Contrasting with elite-focused national art, the painting highlights humor and camaraderie as key to cultural identity. Dr. M. Flores’ observations on informal socialization resonate here, while the absence of women reflects broader gender dynamics and exclusion in public life. The central couple’s tension adds complexity, emphasizing the lived realities of ordinary people. Arrieta’s work critiques traditional narratives, raising questions about representation in shaping Mexico’s national identity.

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Grillo, Max. “A propósito de Acebedo Bernal,” published in El Autonomista (Bogotá,
Colombia), October 15, 1899. 

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Max Grillo’s article A propósito de Acebedo Bernal (1899) explores how art goes beyond technical skill to create an emotional connection with its audience, directly supporting the argument that Latin American art bridged cultural heritage and modernity. Grillo’s perspective invites viewers to experience art as a reflection of the emotions and intentions behind its creation. José María Velasco’s The Valley of Mexico (1875) embodies this idea, presenting a detailed landscape that evokes both pride and nostalgia for Mexico’s cultural heritage. Iconography such as the eagle and snake connects the work to Mexico’s national identity, reflecting its history and struggles for independence.

The painting’s inclusion of figures, such as a woman and children, emphasizes the continuity of cultural heritage, resonating with Grillo’s belief that art should foster a personal connection with its audience. By engaging with both the emotional and historical dimensions of the artwork, Velasco’s painting serves as an example of how art during this period connected individuals to their shared identity. Grillo’s insights align with the broader argument that art was more than a medium of representation—it was a bridge that connected tradition and modernity while fostering national pride and reflection.

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José María Velasco, The Valley of Mexico,1875, Oil on canvas.

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José María Velasco, The Valley of Mexico, 1875, Oil on canvas.

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José María Velasco, The Valley of Mexico, 1875, Oil on canvas.

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José María Velasco’s The Valley of Mexico (1875) demonstrates how art in 18th-century Latin America became a vital tool for expressing national identity. The painting portrays the Mexican landscape with intricate detail, showcasing its natural beauty while symbolizing the nation’s history and struggles. Velasco uses imagery like the eagle and snake to evoke pride in Mexico’s independence and cultural heritage. By focusing on emotional connection and national symbolism, Velasco’s work reflects how art bridged tradition and modernity, linking viewers to their shared identity during a period of significant political and social change.

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Amábilis, Manuel. “Diego Rivera y su obra,” published in El Arquitecto (México, D. F.,México), September 1925, No. 5. 

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Manuel Amábilis’s article Diego Rivera y su obra (1925) examines the role of art in post-revolutionary Mexico, focusing on its capacity to heal and unite a divided society. Amábilis argues that art should reconnect people with their heritage and foster pride, urging artists to create works that stir “emotion, thought, and spirit.” Diego Rivera’s mural The Arsenal (1928) exemplifies these ideas by depicting workers and women in a scene of revolutionary solidarity. Rivera centers everyday people, including Indigenous figures and women, to challenge colonial narratives and emphasize the strength of community.

Amábilis’s vision for revolutionary art ties directly to the argument that art in late 18th-century to Early 19th-century Latin America was not just a visual medium but a means of connecting cultural heritage and modernity. The Arsenal achieves this by creating emotional resonance and celebrating Mexican identity. As a public artwork, Rivera’s mural reflects Amábilis’s belief that art can inspire unity and cultural renewal. Together, Amábilis’s writings and Rivera’s mural illustrate how art reshaped national identity while addressing societal challenges and fulfilling the ideals of the revolutionary era.

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Diego Rivera, The Arsenal, 1928. Mural, SEP Building, Mexico City.

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Diego Rivera, The Arsenal, 1928. Mural, SEP Building, Mexico City.

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Diego Rivera, The Arsenal, 1928. Mural, SEP Building, Mexico City.

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Diego Rivera’s The Arsenal (1928) depicts a pivotal moment of revolutionary solidarity in Mexico. Located in the SEP Building in Mexico City, this mural shows workers and women distributing weapons, emphasizing collective action and unity. Rivera’s inclusion of everyday people, including Indigenous figures and women, challenges colonial narratives and celebrates their role in shaping Mexico’s identity. The mural aligns with the argument that art in 19th-century Latin America served as a tool for cultural heritage and modernity, fostering emotional connections and inspiring national pride while addressing societal inequalities. Accessible to the public, it embodies the transformative power of art.

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Mafra, João Maximiano. Retrato de Dom Pedro II. 1851. Oil on canvas.

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Mafra, João Maximiano. Retrato de Dom Pedro II. 1851. Oil on canvas.

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Mafra, João Maximiano. Retrato de Dom Pedro II. 1851. Oil on canvas.

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João Maximiano Mafra’s Portrait of Pedro II of Brazil (1851) represents the elite narratives of national art during 18th-century Brazil. The painting glorifies Emperor Dom Pedro II, highlighting his role as a symbol of progress and stability in a period of transformation. However, it also reflects the exclusion of ordinary people, whose stories were often overlooked in favor of emphasizing leadership and power. This focus contrasts with works like Tertulia de pulquería, which ground national identity in the lives and experiences of everyday citizens.

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North wall: Diego Rivera, “The Aztec World,” History of Mexico murals, 1929, fresco, Palacio Nacional, Mexico City

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North wall: Diego Rivera, “The Aztec World,” History of Mexico murals, 1929, fresco, Palacio Nacional, Mexico City

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North wall: Diego Rivera, “The Aztec World,” History of Mexico murals, 1929, fresco, Palacio Nacional, Mexico City

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Diego Rivera’s The History of Mexico (1929) mural reflects the ideas of Dr. M. Flores, Max Grillo, and Manuel Amábilis by addressing societal critique, emotional connection, and cultural renewal. Rivera aligns with Flores by including Indigenous peoples and the working class, reclaiming their role in shaping Mexico’s identity and critiquing their exclusion in earlier art. Grillo’s focus on emotional engagement is seen in Rivera’s use of vivid symbols and history to evoke national pride. Rivera also fulfills Amábilis’s call for art to unify society by inspiring solidarity and cultural pride in post-revolutionary Mexico through his accessible public murals.

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Amábilis, Manuel. “Diego Rivera y su obra.” El Arquitecto (México, D.F., México), September 1925, No. 5. Accessed through the International Center for the Arts of the Americas (ICAA).

Arrieta, José Agustín. Tertulia de pulquería. 1851. Oil on canvas. Museo Nacional de Arte, Mexico City.

Flores, Manuel María. “Arte Melancólico.” El Mundo Ilustrado (México, D.F., México), February 4, 1900, No. 5. Accessed through the International Center for the Arts of the Americas (ICAA).

Grillo, Max. “A propósito de Acebedo Bernal.” El Autonomista (Bogotá, Colombia), October 15, 1899. Accessed through the International Center for the Arts of the Americas (ICAA).

Mafra, João Maximiano. Retrato de Dom Pedro II. 1851. Oil on canvas.

Rivera, Diego. The Arsenal. 1928. Mural. SEP Building, Mexico City.

Rivera, Diego. “The Aztec World.” History of Mexico murals, 1929. Fresco, Palacio Nacional, Mexico City.

Velasco, José María. The Valley of Mexico. 1875. Oil on canvas. Museo Nacional de Arte, Mexico City.