Ink drawing, published in Horizonte 6 (agosto 1926), 15. Catalogue record number 744.
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Horizonte
Horizonte
Date: 1926-27
Original media: Ink drawings and other media
Published in: Horizonte, various issues.
References: Information to be added
Commentary: Ten issues of the Estridentista journal Horizonte were published in Xalapa in 1926-27, edited by Manuel Maples Arce under the patronage of the governor of the state of Veracruz, General Heriberto Jara. Méndez and Ramón Alva de la Canal were responsible for the covers and most of the illustrations. Some of the illustrations and decorations (viñetas) are credited but many others are anonymous; it is not certain which of those are by Méndez. Of the the illustrations that can be definitively attributed to Méndez, those based on prints are included in the Prints section of the catalogue. A selection of those based on other media are shown here. (Peter Schneider)
Ink drawing, published in Horizonte 2 (mayo 1926), 29. Catalogue record number 830.
Drawing, published in Horizonte 9 (marzo 1927), cover. Catalogue record number 446.
Drawing, published in Horizonte 4 (julio 1926), cover. Catalogue record number 445.
The cover of Horizonte of July 1926 displays Méndez’s image (sometimes called Azoteas de Jalapa (Roofs of Jalapa)), tinted in soft blues, greens and whites, a tilted, off-center, geometric composition of the tile roofs that cover the narrow streets of Xalapa. Méndez painted this work in the Stridentists’ modernist style, with innovative, jazzy, rhythms.
El volantín de las fiestas indígenas. Drawing, published in Horizonte 6 (septiembre 1926), 40. Catalogue record number 956c.
Calle de Jalapa. Oil, published in Horizonte 4 (julio 1926), 16. Catalogue record number 705.
Méndez painted Calle de Jalapa (Jalapa Street), known only in a black and white photograph, during his time in the Stridentist Movement, when he lived with other Stridentists in Xalapa (also spelled Jalapa), Veracruz between 1925 and 1927). The image appeared in Horizonte, the Stridentist publication from the Xalapa years. Méndez juxtaposed tradition with modernity, alternating the triangular forms of the roofs with wires and streetlights. (Deborah Caplow)
Méndez pintó Calle de Jalapa, que sólo se conoce en una fotografía en blanco y negro, durante su época en el Movimiento Estridentista, cuando vivía con otros estridentistas en Xalapa (también se deletrea Jalapa), Veracruz, entre 1925 y 1927. La imagen se publicó en Horizonte, la publicación estridentista de estos años. Méndez yuxtapone tradición y modernidad, alternando las formas triangulares de los tejados con cables y farolas. (Deborah Caplow)
La estación. Tempera, published in Horizonte 5 (agosto 1926), 12. Catalogue record number 703.
Un cuento mexicano--Cuaxtla. Ink drawing, published in Horizonte 6 (septiembre 1926), 41. Catalogue record no. 956a.
Ink drawing, published in Horizonte 6 (septiembre 1926), 13. Catalogue record number 956b.
Ink drawing, published in Horizonte 5 (agosto 1926), 39. Catalogue record number 706 .
Germán List Arzubide en la tribuna. Drawing, published in Horizonte 10 (abril-mayo 1927), 10. Catalogue record number 744.
Ink drawing, published in Horizonte 3 (junio 1926), 37. Catalog record no. 956d.
Danzon. Ink drawing, published in Horizonte 3 (junio 1926), 38. Catalogue record no. 956e.
Some of Méndez’s early images reflect the light-hearted aspects of the Stridentists’ life in Jalapa, Veracruz between 1925 and 1927. Danzón, from 1926, portrays a couple dancing the danzón, a popular ballroom dance of Cuban origen especially popular in the state of Veracruz. In this unassuming pen and ink drawing, the two dancers are drawn in simple lines against a plain background; Stridentist visual conventions can be seen in the geometric simplification and the modern subject matter. (Deborah Caplow)
Algunas de las primeras imágenes de Méndez reflejan los aspectos desenfadados de la vida de los estridentistas en Jalapa, Veracruz, entre 1925 y 1927. Danzón, de 1926, retrata a una pareja bailando un baile de origen cubano especialmente popular en el estado de Veracruz. En este discreto dibujo a pluma y tinta, los dos danzantes están trazados con líneas sencillas sobre un fondo sencillo; las convenciones visuales estridentistas pueden apreciarse en la simplificación geométrica y el tema moderno. (Deborah Caplow)
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