687:
524:
672:
342:
535:
drawings to capture vibrations of light . He blurred certain background colors together to create ambiance. He preferred strong contours, dynamic imagery, and color balanced. "The refinement of Herran's draughtsmanship and use of colour balances the naturalistic imagery in these works combining drawing with watercolour, a technique adapted from
Spanish painters such as Néstor de la Torre". Along with integrating well- developed techniques, his work displays a deep knowledge of the human psyche. His art links eminence and dignity to Mexican heritage. It has brought deep meaning to teaching the value of cultural acceptance and gives insight into the brevity of human life for every viewer to relate to.
612:
642:
627:
597:
268:
657:
135:
426:
510:, God of the early Christians is in the center of the goddess. Hands, hearts, skulls and crosses are displayed along with lilies, which are representative of Christian spirituality. The piece is a fusion of both cultures as all races on both sides are turned worshiping one god-like figure with one Aztec and one European reference to a higher power. Christ and Coatlicue coalesce in "a vivid expression of his theme concerning the mixture of the two races"
25:
438:
capturing their strength, dignity, and inherent beauty. This realization was a part of a movement called 'indigenismo'-a movement that called for social elevation, for a developed personal identity that is inextricably linked to a plethora of Latin races. His generation marked him as one of the painters that "embodied the nations soul".
444:(1913) exemplifies Mexican modernism with its allegorical allusion to life's journey. It displays a punt boat in a canal filled with zempasúchitl flowers (a marigold that is traditionally associated with death). Featured are a baby, a youthful man, and an elderly man offering the flowers for the dead. This is a reference to
502:, who, according to legend, gave birth to the sun, moon, stars. It was commissioned for the Palace of Fine Arts in Mexico City. The mural is sixteen feet tall with multiple panels. Latin and Caucasian races are showcased on both sides, yet it draws the eyes of the viewer in to engage with the center panel,
373:
His first paintings displayed figures as allegories of nature and included
Spanish mythology and scenes of everyday people at work who were either exhausted or optimistic. By 1908 he gained success and recognition within the artistic community and began winning awards on top of scholarships. In 1909
486:
and, in modern times, capitalism" These ideologies were painted by fellow artists Orozco and Rivera, making them illustrious in the art world. As mentioned above, he went on to create commissioned murals for the School of Arts and Crafts. His works were used as model for future muralists throughout
514:
is arguably Herrán's greatest, most infamous work due to its deep calling to the viewer to accept others, think spiritually, and unify two cultures. It was never fully completed as he worked on it until the day he died. Due to his clear skill with draughtsmanship, some of Herrán's contemporaries
534:
Saturnino paved the way for artists like Orozco and Rivera by creating masterpieces with deep, relatable meaning. Stylistically, he painted his strengths and used well-cultured techniques from years of learning with
Spanish, European, and Catalan influence. Herran used free brushwork over his
437:
colorist. While his work had influence from Mexico, Spain, and
Catalan it did not fully break away from the traditional European style he was trained to paint in. Herrán, being of mixed descent himself, recognized the multitude of races Mexico embodied, and painted people in natural habitats,
477:
By this time in his career, Saturnino finally became a muralist. "Mural art would be, by definition, revolutionary and
Marxist, nationalist and indigenous. In this art, in rather Manichean fashion, the forces of good (those mentioned) confront the forces of evil, represented by Spain,
353:
where his father worked. José Inés
Tovilla and Severo Amador helped teach him both drawing and painting. In 1903, his father died. He and his mother moved to Mexico City, where he worked at a telegraph office to support her and took classes from Julio Ruelas at the
452:, a celebration of ancestry that is said to connect the living to the dead. Each character represents a different stage of life, but they are all following the same end destination and respecting their course. When Herran died, his widowed wife requested
456:
yet it was taken to the
National Fine Arts Institute. Herrán's works gave credence to the "spiritual beauty of the native people of Mexico in exquisite drawings of Indians whose languid silhouettes stand out against freely interpreted backgrounds of
299:, a city in North-Central Mexico ingrained with Spanish culture. His father owned "the only bookstore in the city" and was a professor of bookkeeping at The Academy of Science". At the age of ten, he was exceptional in drawing, painting, and
370:. He was an "outstanding student" receiving "honorable mentions" in multiple courses. Herrán immersed himself in Mexican art, mixing that with his training in academic European technique, for he saw art as a spiritual experience.
314:(1914). At the height of his career in 1914, they were married. There is little that is known about their marriage other than it appeared to be "congruent" and "enlightened". Together they had one son, José Francisco.
317:
Herrán completed majestic paintings of
Mexican Indigenous people, giving them heroic strength, beauty, and dignity. In 1910, he participated in the exhibition commemorating the Centennial Anniversary of
358:. He then studied draughtsmanship under Antonio Fabres, a Catalan painter and color under Mexican colorist Germán Gedovius. His work was highly inspired by European theories of modern art including
417:, the future Secretary of Education of Mexico after it was revolutionized. After seeing the exhibition, he commissioned Herrán to do a large-scale mural in the School of Arts and Crafts in 1911.
397:, he formed the Society of Mexican Painters and Sculptors and staged a counter-exhibition to the Centennial Anniversary that included art that was purely Mexican. It included his triptych
686:
515:
criticized his style, calling his paintings "painted drawings" or "effeminate", yet others believe his "superb draftsmanship of the human figure the strength of his best work".
386:. In 1910, he turned down a scholarship to study in Europe and took a job as a draftsman in the Department for the Inspection of Archeological Monuments.
819:
770:
375:
641:
671:
956:
611:
523:
89:
921:
626:
61:
874:
714:
931:
951:
68:
42:
413:. The exhibition was so popular that the entrance had to be controlled by police. This exhibition made an impression on
75:
857:
754:
108:
787:
596:
310:
At 25 years old, he met
Rosario Arellano, his future wife, who occasionally acted as a figure model for pieces like
433:
On top of being a professor, Herrán was an activist for modern art, a muralist, book illustrator, draughtsman, and
57:
926:
936:
341:
46:
319:
350:
850:
The
Cambridge History of Latin America Volume X: Latin America Since 1930: Ideas, Culture, and Society
656:
326:
appeared during his career, and in 1911 he completed commissioned large-scale, mural-like paintings.
82:
35:
906:
394:
746:
740:
528:
355:
946:
941:
8:
715:"Saturnino Herran: A Bright Light Too Soon Extinguished : Mexico Culture & Arts"
901:
414:
764:
390:
383:
402:
303:. In 1903, when he was sixteen, his father died. Two years later, the family moved to
134:
853:
750:
458:
425:
359:
406:
323:
479:
449:
267:
367:
296:
166:
140:
915:
434:
483:
379:
836:
330:
304:
188:
410:
389:
1910 launched Herrán into greater success when he participated in the
287:
influential to Latin culture in the late 19th and early 20th century.
499:
363:
333:
on 8 October 1918, at the age of 31, "from a gastric complication".
852:. Cambridge, England: Cambridge University Press. pp. 398–399.
742:
Images of Ambiente: Homosexuality and Latin American Art, 1810-Today
24:
284:
445:
300:
192:
170:
507:
495:
788:"Saturnino Herran - Artist Biography for Saturnino Herran"
307:
where he studied painting further and began to teach.
349:In 1901 Herrán began taking drawing lessons at the
345:
The cófrade de San Miguel de Saturnino Herrán, 1917
49:. Unsourced material may be challenged and removed.
401:Herrán's pieces were associated with the work of
913:
745:. Wellington House, London: Continuum. pp.
907:Museum of National Art / Museo Nacional de Arte
391:Centennial Anniversary of Mexico's Independence
283:(9 July 1887 – 8 October 1918) was a Mexican
769:: CS1 maint: multiple names: authors list (
448:, a tradition deeply connected to Mexico's
847:
133:
472:
109:Learn how and when to remove this message
522:
424:
340:
914:
875:"A Bright Light Too Soon Extinguished"
872:
820:"Oxford Art Online: Saturnino Herran"
738:
374:he became a professor drawing at the
814:
812:
810:
808:
782:
780:
494:(1914-1918), he displayed legendary
420:
47:adding citations to reliable sources
18:
13:
14:
968:
957:20th-century Mexican male artists
895:
873:Pomade, Rita (1 September 2008).
805:
777:
581:Our Gods (Cuatlicule Transformed)
351:Aguascalientes Academy of Science
685:
670:
655:
640:
625:
610:
595:
366:aesthetics and a high degree of
266:
23:
922:People from Aguascalientes City
376:National Institute of Fine Arts
336:
295:Saturnino Herrán was raised in
34:needs additional citations for
866:
848:University, Cambridge (1995).
841:
830:
732:
707:
538:
429:Saturnino Нerran drawing, 1917
409:, with his own influence from
1:
932:20th-century Mexican painters
701:
591:
952:Academy of San Carlos alumni
490:In Herrán's famous triptych
399:The Legend of the Volcanoes.
290:
7:
10:
973:
587:
281:Saturnino Herrán Guinchard
153:Saturnino Herrán Guinchard
648:Nuestros Dioses Antiguos,
518:
274:
265:
260:
256:
248:
240:
232:
215:
207:
199:
177:
148:
132:
125:
739:Bleys, Ruby, C. (2000).
378:, where his pupils were
329:Herrán died suddenly in
927:Mexican genre painters
531:
473:Later career: muralist
430:
346:
937:Mexican male painters
633:Mujer en Tehuantepec,
529:Aguascalientes Museum
526:
504:Coatlicue Transformed
487:the 1920s and 1930s.
467:Criolla with Mantilla
428:
393:. With fellow artist
356:Academy of San Carlos
344:
320:Mexico's Independence
569:Woman with the Shawl
557:Mujer en Tehuantepec
312:Mujer en Tehuantepec
43:improve this article
678:Mujer con Calabaza,
322:. A desire to be a
719:www.mexconnect.com
575:Mujer con Calabaza
532:
450:Dia de los Muertos
431:
384:Roberto Montenegro
347:
58:"Saturnino Herrán"
551:The Orange Seller
461:sculpture." See:
421:Mexican modernism
411:Catalan modernism
278:
277:
119:
118:
111:
93:
964:
890:
889:
887:
885:
870:
864:
863:
845:
839:
834:
828:
827:
826:. November 2017.
816:
803:
802:
800:
798:
784:
775:
774:
768:
760:
736:
730:
729:
727:
725:
711:
689:
674:
659:
644:
629:
614:
599:
415:José Vasconcelos
270:
244:Rosario Arellano
236:Mexican muralism
218:
184:
162:
160:
137:
127:Saturnino Herrán
123:
122:
114:
107:
103:
100:
94:
92:
51:
27:
19:
972:
971:
967:
966:
965:
963:
962:
961:
912:
911:
898:
893:
883:
881:
871:
867:
860:
846:
842:
835:
831:
818:
817:
806:
796:
794:
786:
785:
778:
762:
761:
757:
737:
733:
723:
721:
713:
712:
708:
704:
699:
696:
690:
681:
675:
666:
660:
651:
645:
636:
630:
621:
615:
606:
600:
590:
563:Nuestros Dioses
541:
521:
475:
423:
339:
293:
216:
195:
186:
182:
173:
164:
158:
156:
155:
154:
144:
143:sketch, c. 1918
139:Self portrait,
128:
115:
104:
98:
95:
52:
50:
40:
28:
17:
16:Mexican painter
12:
11:
5:
970:
960:
959:
954:
949:
944:
939:
934:
929:
924:
910:
909:
904:
897:
896:External links
894:
892:
891:
865:
858:
840:
829:
804:
792:www.askart.com
776:
755:
731:
705:
703:
700:
698:
697:
691:
684:
682:
676:
669:
667:
661:
654:
652:
646:
639:
637:
631:
624:
622:
616:
609:
607:
601:
594:
589:
586:
585:
584:
578:
572:
566:
560:
554:
548:
540:
537:
520:
517:
484:Conquistadores
474:
471:
422:
419:
407:José de Rivera
338:
335:
297:Aguascalientes
292:
289:
276:
275:
272:
271:
263:
262:
258:
257:
254:
253:
250:
246:
245:
242:
238:
237:
234:
230:
229:
219:
213:
212:
209:
208:Known for
205:
204:
201:
197:
196:
187:
185:(aged 31)
181:8 October 1918
179:
175:
174:
167:Aguascalientes
165:
152:
150:
146:
145:
138:
130:
129:
126:
117:
116:
31:
29:
22:
15:
9:
6:
4:
3:
2:
969:
958:
955:
953:
950:
948:
945:
943:
940:
938:
935:
933:
930:
928:
925:
923:
920:
919:
917:
908:
905:
903:
900:
899:
880:
876:
869:
861:
859:0-521-49594-6
855:
851:
844:
838:
833:
825:
821:
815:
813:
811:
809:
793:
789:
783:
781:
772:
766:
758:
756:0-8264-4723-6
752:
748:
744:
743:
735:
720:
716:
710:
706:
694:
688:
683:
679:
673:
668:
664:
658:
653:
649:
643:
638:
634:
628:
623:
619:
618:The Offering,
613:
608:
604:
598:
593:
592:
582:
579:
576:
573:
570:
567:
564:
561:
558:
555:
552:
549:
546:
543:
542:
536:
530:
525:
516:
513:
509:
505:
501:
497:
493:
488:
485:
481:
470:
469:(1917–1918).
468:
464:
460:
459:Pre-Columbian
455:
451:
447:
443:
439:
436:
435:stained glass
427:
418:
416:
412:
408:
404:
400:
396:
392:
387:
385:
381:
377:
371:
369:
365:
361:
357:
352:
343:
334:
332:
327:
325:
324:mural painter
321:
315:
313:
308:
306:
302:
301:draftsmanship
298:
288:
286:
282:
273:
269:
264:
259:
255:
251:
247:
243:
239:
235:
231:
227:
223:
220:
214:
210:
206:
202:
198:
194:
190:
180:
176:
172:
168:
151:
147:
142:
136:
131:
124:
121:
113:
110:
102:
91:
88:
84:
81:
77:
74:
70:
67:
63:
60: –
59:
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
882:. Retrieved
878:
868:
849:
843:
832:
823:
795:. Retrieved
791:
741:
734:
722:. Retrieved
718:
709:
692:
677:
662:
647:
632:
617:
602:
580:
574:
568:
562:
556:
550:
545:The Offering
544:
533:
511:
508:Jesus Christ
503:
491:
489:
476:
466:
462:
454:The Offering
453:
442:The Offering
441:
440:
432:
398:
388:
380:Diego Rivera
372:
348:
337:Early career
328:
316:
311:
309:
294:
280:
279:
225:
222:The Offering
221:
217:Notable work
183:(1918-10-08)
120:
105:
96:
86:
79:
72:
65:
53:
41:Please help
36:verification
33:
947:1918 deaths
942:1887 births
884:20 November
879:Mex Connect
797:28 November
724:15 November
603:La Cosecha,
539:Major works
480:Catholicism
465:(1916) and
395:Jose Orozco
331:Mexico City
305:Mexico City
200:Nationality
189:Mexico City
163:9 July 1887
916:Categories
824:Oxford Art
702:References
663:Flechador,
482:, and the
368:naturalism
159:1887-07-09
99:March 2018
69:newspapers
902:Blog post
765:cite book
693:Our Gods,
500:Coatlicue
463:The Shawl
403:Velázquez
291:Biography
261:Signature
837:marigold
512:Our Gods
498:goddess
492:Our Gods
249:Children
233:Movement
226:Our Gods
224:(1913),
211:Painting
141:charcoal
588:Gallery
527:At the
446:ofrenda
285:painter
203:Mexican
83:scholar
856:
753:
583:, 1918
577:, 1917
565:, 1916
553:, 1913
547:, 1913
519:Legacy
241:Spouse
228:(1918)
193:Mexico
171:Mexico
85:
78:
71:
64:
56:
747:43–44
496:Aztec
364:Roman
360:Greek
90:JSTOR
76:books
886:2017
854:ISBN
799:2017
771:link
751:ISBN
726:2017
695:1918
680:1917
665:1917
650:1916
635:1914
620:1913
605:1909
571:1916
559:1914
405:and
382:and
362:and
178:Died
149:Born
62:news
45:by
918::
877:.
822:.
807:^
790:.
779:^
767:}}
763:{{
749:.
717:.
506:.
191:,
169:,
888:.
862:.
801:.
773:)
759:.
728:.
252:1
161:)
157:(
112:)
106:(
101:)
97:(
87:·
80:·
73:·
66:·
39:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
.png)
