From the Archives: Notes on Artist Xavier González (1898-1993), “Moonlight Over the Chisos,” and a Visit to Mexico City’s Antigua Academia de San Carlos

While we’re still in the midst of the covid shut-down this Monday, here is one of my favorite travel posts from the archives:

Notes on Artist Xavier González (1898-1993),
“Moonlight Over the Chisos,” and a Visit to
Mexico City’s Antigua Academia de San Carlos

Originally posted on Madam Mayo blog, May 2, 2016

It was in 2012, when I started on my still in-progress book about Far West Texas, that I first encountered the paintings of Xavier González in the Museum of the Big Bend on the Sul Ross University Campus in Alpine, Texas. I was there to see “The Lost Colony,” an exhibition  of works by painters associated with the summer Art Colony of the Sul Ross College (now Sul Ross State University). The works were from 1921-1950; the Art Colony, formally so-called, spanned the years 1932-1950.

Curator Mary Bones gave me a fascinating interview about “The Lost Colony,” which you can listen to here.)

“MOONLIGHT OVER THE CHISOS,” 1934

The artwork by Xavier González that most enchanted me was his magnificent “Moonlight Over the Chisos” of 1934. It was not in the show itself, however, but tucked into the top of the stairwell leading down to the museum’s map collection– not an ideal location, but no doubt one of the few available walls large enough to accommodate the massive 6 x 14 feet canvas. 

“Moonlight Over the Chisos” is in the tradition of Mexican murals of the 1930s, although technically not a mural, as it is painted on canvas. (In no way do these two photos, snapped with my iPhone and pasted together with a screenshot, do this masterpiece justice. Alas, the painting is so large, I couldn’t back up far enough to fit the whole of it into one shot.) 

(Dear reader, if you haven’t hiked the Chisos, you have yet to live.) 

XAVIER GONZÁLEZ IN MEXICO CITY 
(RESEARCH UNDERWAY…)

What also caught my attention was that González had studied art in Mexico City and precisely during the time of great muralists, among them, Diego Rivera. Mary Bones told me: “Xavier González spent many summers down in Mexico and Mexico City looking at the muralists.” 

Born in Almería, Spain in 1898, as a child Xavier González immigrated with his family to Mexico. 

An important influence on his development as an artist was his maternal uncle, the academic painter José Arpa (1858-1952), a native of Spain who later divided his time between Mexico City and San Antonio– and became a leading figure in the art community of the latter, running an art school out of the Witte Museum. According to the notes for “The Three Worlds of Jose Arpa y Perea” exhibition of 2015 from the website of the San Antonio Museum of Art, Arpa won the Rome Prize three times and had been offered the directorship of the Academia de San Carlos, but instead worked independently. In my notes from a visit to González’s archive in the Smithsonian (box 4, unattributed article):

“[José Arpa] received his early art training at the School of Fine Arts in Seville… His first success was in 1891, when his painting of Don Miguel de Manarra won first prize in the Madrid exhibition. Travels in Africa and Europe followed… the Spanish government sent for of his paintings to the first World’s Fair held in Chicago in 1893 as representative of the best of Spain…. shortly after that time the Mexican government sent a man-of-war to Spain and brought him to Mexico to assume charge of the academy of Fine Arts in Mexico City. He later declined the appointment, but remained for many years becoming enthralled with the light and color and movement of the country…”

At age thirteen (circa 1911) Xavier González was studying at the Academia de San Carlos in Mexico City. This was the same time that 15 year old David Siquieros, who was to became one of Mexico’s greatest muralists, was also beginning his studies at San Carlos. (Did they take the same classes?) 

In 1913 the violent stage Revolution intervened… I’m still a little foggy on the details of González’s early life… 

The Lost Colony catalog notes that González studied and worked as a mechanical engineer. In 1922 he was working in Iowa for a railroad. Later he studied at night and graduated from the Chicago Art Institute. In 1925, he was assisting his uncle José Arpa in his art school in San Antonio’s Witte Museum and from 1927-29 he was teaching classes himself.
González became a US citizen in 1930 and the following year took a faculty position at Sophie Newcomb, the women’s college now folded into Tulane University in New Orleans.

From “The Lost Colony” catalog:

“…much of the work was to be done en plein air with frequent trips to the Davis and Chisos Mountains”

> 1932 González conducted the first summer Art Colony at Sul Ross (along with Julius Woeltz and Aline Rather)
> 1933 González in Paris, and also Mexico City (on a leave of absence from Sophie Newcomb College.)
> 1934-1939 González conducted sessions of the summer Art Colony.
> 1935 González married his student Ethel Edwards.

More about Xavier González:
New York Times obituary
Texas State Historical Association
David Dike Gallery;
Archives of American Art Xavier González papers –and also the papers of his wife, artist Ethel Edwards 1935-1999). 

I hope to be able to dig into the archives at the Academia de San Carlos to find out when exactly González attended and with whom he studied. I am also curious to learn why his uncle José Arpa, after coming all the way from Spain, did not take the helm at the Academia de San Carlos.

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A VISIT TO THE ANTIGUA ACADEMIA DE SAN CARLOS
(Not to be confused with the Museo San Carlos, different building, different neighborhood. Uyy, Mexico City is endlessly endless.)

Herewith a batch of notes, GIFs, photos and brief videos from my recent visit to the Antigua Academia de San Carlos which now serves as the National University (UNAM) campus for masters and doctoral degrees in the fine arts. Art history professor Dante Díaz Mendieta leads tours on the last Wednesday of each month. (For details scroll down to the end of this post.)

You’ll find the Antigua Academia de San Carlos a short walk behind the National Palace, at the corner of Moneda and Academia Streets (Calle Moneda y Calle Academia). This GIF shows my approach from Moneda, the National Palace along the right, then the terracotta-colored neoclassic Italianate façade of the Academia de San Carlos. 

APPROACHING THE ANTIGUA ACADEMIA SAN CARLOS FROM CALLE MONEDA

The site of the Academia de San Carlos has been continually occupied for almost 500 years. The land once backed the Aztec emperor Moctezuma’s palace, Casas Nuevas. After the Conquest the parcel became the property of the Church; the original building arose as a hospital specializing in syphilis patients. 

In the late 18th century King Carlos III sent his chief engraver to New Spain– Mexico wasn’t yet Mexico– to establish an academy and so improve the production of coins– hence the Academia de San Carlos’ location, only steps from the Casa de Moneda, the mint for the colony which was founded in 1535. 

Classes began in 1781 and the Academia de las Nobles Artes de San Carlos de la Nueva España, offering instruction in architecture, engraving, painting, and sculpture, was officially inaugurated in 1785.

The oldest fine arts academy in the Americas, San Carlos has been in almost continuous operation for 235 years. It closed in 1822, during the cash-strapped years of the First Empire, and not until 1843 did it reopen, when Santa Anna, in a moment of inspiration, joined it to the lottery which became known as the Lotería de San Carlos. According to the Mexican Lottery website (my translation):

“The San Carlos Lottery utilized its income to acquire important artworks, provide scholarships for the Academia de San Carlos, and to bring important teachers to Mexico among them, the painter Pelegrín Clave, sculptor Manuel Vilar, landscape painter Eugenio Landesio and architect Javier Cavallari… Thanks to this lottery’s economic success it was possible to address other large and urgent needs of the general population in a time of foreign invasions and civil wars that left in the country in circumstances of chronic poverty.”

My 49 second video below shows the entrance, then the central patio before “Winged Victory” and brief look at glass dome which was installed by Antonio Rivas Mercado in 1913. According to Mauricio Tenorio-Trillo in I Speak of the City: Mexico City at the Turn of the Twentieth Century (high recommended):

“Antonio Rivas Mercado was one of the few Mexican architects favored with contracts for major national construction projects. But he was a French-trained architect, a follower of the Paris beaux-arts style, who had lived in London and Paris for many years.”   (p. 22) 

The dome was manufactured in France. Note the Art Nouveau ojos de buey or oval windows, also designed by Rivas Mercado for the section added to help support the dome’s weight. Part of the tour included a jazz concert by Los Cuatro Saxofones (The Four Saxophones).

Here is a much better video made by the university (about 7 minutes, in Spanish):

Winged Victory represents the goddess Nike. Most Mexicans, familiar with the American sports shoe brand, pronounce Nike to rhyme with bike. Professor Díaz Mendieta set his audience straight. In Spanish Nike is pronounced Nee-keh. She is the symbol of the Academia de San Carlos. The other 19th century plaster casts of iconic Greek and Renaissance sculptures, including Michelangelo’s Moses and head of David, are not for decoration but for the students to copy.

This handsome gallery of walnut wood and gold leaf features a ceiling decorated with portraits of artists and scientists including Copernicus and Raphael. A few of the heads fell off during the 1985 earthquake.  There was little light by this time, alas; the colors in this room are actually rich and brilliant.

And this is the Centennial Gallery, decorated in the then fashionable Frenchified festoonerie for the academy’s 100th anniversary:

Voilà, Weltschmerzerie and sparkly donuts:

Finally, here is a GIF of Professor Díaz Mendieta wrapping up the tour in the torreo or bullring, an original classroom. The torreo was used not for making art but teaching theory and history of art. No doubt Diego Rivera addressed students here, as did his professor, Santiago Rebull, and many more in a long list of Mexico’s greatest artists. 

PROFESSOR DANTE DIAZ MENDIETA IN EL TORREO, OR THE BULLRING, THE CLASSROOM AT THE ANTIGUA ACADEMIA DE SAN CARLOS

The desks are notably narrower than in classrooms today. The room (was it windowless?) felt a smidge creepy.

SIDEBAR (FROM ONE VERY MACHO MUNDO): 
A FEW OF THE NOTABLE ARTISTS OF THE ACADEMIA DE SAN CARLOS, BY DATE OF BIRTH

MANUEL TOLSA, AN ARCHITECT AND SCULPTOR WHO MERITS AT LEAST 378 BLOG POSTS

Manuel Tolsá (1757-1816)

Santiago Rebull (1829-1902)

José María Velasco (1840-1912)

Antonio Rivas Mercado (1853-1927)

Jesús Fructuoso Contreras (1866-1902)

Dr. Atl (Gerardo Murillo) (1875-1964)

José Clemente Orozco (1883-1949)

Diego Rivera (1886-1957)

Saturnino Herrán (1887-1918)

David Siquieros (1896-1974)

Xavier González (1898-1993)

Rufino Tamayo (1899-1991)

Luis Nishizawa (1918-2014)

¿FANTASMAS? POR SUPUESTO, AMIGOS

The great glass dome had gone dark when Professor Díaz Mendieta concluded on the wicked note that of course there are ghosts in here: a little girl who laughs; loud knocks; and, as the nightwatchman swears, on occasion in the wee hours of the night, moving from one side of the entrance foyer and disappearing into the opposite wall, a procession of monks holding torchlights. 

Recently the National Institute of Anthropology and History (INAH) conducted an excavation that turned up 17 bodies. Presumably these were not of art students but syphilis patients of the 18th, 17th, or even 16th century.

¿Y LA FRIDA?

It’s impossible to talk about Mexican artists without mentioning Frida Kahlo. No, Professor Díaz Mendieta answered the question, Frida did not take classes at the Academia de San Carlos; at that time it was for men only, but Frida hung out here (andaba aquí) with her sweetheart, Diego Rivera.

In a future blog post I will talking about González’s wife Ethel Edwards; also about noted Texas regionalist painter Julius Woeltz (1911-1956), a student of González’s who taught at the summer art colony at Sul Ross and who accompanied González on some of his trips to paint in Mexico City in 1934 and 1935. (Woeltz also served as best man at González’s wedding.) I hope to also unearth more about Woeltz in the archives of the Academia de San Carlos. Stay tuned. Curator Mary Bones also talks about these and many other artists of the “Lost Colony” in my “Marfa Mondays” podcast interview. Again, that recording and transcript are available free here.

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HOW TO GET THE TOUR

(UPDATE May 18, 2020: I have no idea whether any of this information is still valid. At present, because of the covid, many places in Mexico City remain closed.)

On the last Wednesday of every month, at 7 PM, UNAM art history professor Dante Díaz Mendieta offers a free tour, no reservations required. (In Spanish, of course.) Check for updates on the Facebook pages “Difusión San Carlos” or “GestionCulturalSanCarlos” or call tel. 5522-0630 ext 228. 

A tour of the Academia de San Carlos is also included in the annual Festival del Centro Histórico de la Ciudad de México. The 2016 Festival concluded in March; look for it again in 2017.

A Visit to the Casa de la Primera Imprenta de América 
in Mexico City

What the Muse Sent Me about the Tenth Muse, 
Sor Juana Inés de la Cruz

Überly Fab Fashion Blogger Melanie Kobayashi’s “Bag and a Beret” 
(Further Notes on Reading as a Writer)

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Find out more about
C.M. Mayo’s books, articles, podcasts, and more.

Cartridges and Postcards from the US-Mexico Border of Yore

Postcards from the US-Mexico border, 1916.

About a century ago, after the fall of Francisco I. Madero’s government in 1913, with the ensuing struggle between the Huertistas and Carrancistas, and the chaos along the US-Mexico border (in part fomented by German agents, hoping to keep the U.S. Army otherwise occupied during WWI), the U.S. Army set up a number of camps there. On ebay, my sister found these postcards, probably sent by a soldier stationed near El Paso, dated October 26, 1916.

One of the postcards shows an address in Alliance, Ohio, a town noted for its Feline Historical Museum. Thank you, Google.

Here is another GIF, this one of some cartridges I picked up– by invitation, I hasten to emphasize– on private property right by the Rio Grande about 20 minutes’ drive down a dirt road from Presidio, Texas. Seriously, these are cartridges from the time of the Mexican Revolution (probably from target practice); they were just lying on the ground. That is how isolated a place it still is.

Cartridge circa 1916, from near Presidio, TX

One last GIF: An overcast day on the otherwise spectacular Hot Springs Historic Trail in the Big Bend National Park. The river is the Rio Grande, the border with Mexico. At sunset the mountains turn the most otherwordly sherbet-pink. Imagine this scene with a wall through it– your tax dollars down the hole for a perfectly pointless aesthetic and ecological atrocity. (I shall now take a deep breath.)

Hot Springs Historic Trail, Big Bend National Park, Far West Texas. (Don’t watch this GIF unless you are part Viking, it will make you seasick).

Not shown in my video: the guy hiking a few minutes ahead of me on this trail wore a T-shirt that said TEXAS GUN SAFETY TIP #1: GET ONE. Well, it ain’t California. Excuse me, I need to go crunch my granola. 

Much more anon.

“Dear Mother, Am hard as a rock and brown as an Indian…”
More Postcards from the US-Mexico Border Circa 1916

Peyote and the Perfect You

A Spell At Chinati Hot Springs

Find out more about
C.M. Mayo’s books, articles, podcasts, and more.

Peyote and the Perfect You: Some Notes (Basics, History, Links, Videos, a Hypothesis about the Heart Chakra, and an Embryonic Bibliography)

SOME NOTES & ETC ON PEYOTE FROM THE RESEARCH FOR MY BOOK IN-PROGRESS ON FAR WEST TEXAS
>> Read about my book in-progress
>> Listen in to the 20 “Marfa Mondays” podcasts (mainly interviews) posted to date
>> View my maps of Far West Texas

Lophohora williamsii, or peyote

Far West Texas, an area approximately the size of West Virginia, includes a goodly patch of the territory that stretches deep into Mexico where peyote, or lophophora williamsii grows… oh so very… very… very… v-e-r-y… slowly. A runty, dull-gray spineless cactus with wispy white hairs, when found, peyote– an Anglicization of the original Nahautl name, peyotl— is usually growing in clusters. What certain indigenous peoples have done for an eon is slice off the tops– the “buttons”– and eat them. Calories and dietary fiber are not the point; apparently the taste is puckerlips nasty. But adepts claim that this humble-looking plant is no less than “the divine cactus,” and eaten as a sacrament, as “holy medicine,” it can bring one’s mind into a mystical realm where psychedelic visions can help one see across time and space and heal one’s thoughts about oneself and the cosmos. As one participant in a peyote ritual reported, echoing so many others, he found “profound gratitude for his life” as it was. 

PEYOTE AND THE HUICHOLS
The Huichols, who live in Mexico’s Sierra Madre, are the indigenous group best known for their peyote ritual. 

>> For more about the Huichol visit the website of the  Huichol Center for Cultural Survival.

PEYOTE IN FRAY BERNARDINO SAHAGUN’S GENERAL HISTORY OF THE THINGS OF NEW SPAIN
The first known written mention of peyote is in Franciscan missionary Bernardino de Sahagún’s Historia general de las cosas de Nueva Españaor General History of the Things of New Spain. The original 16th century manuscript, which contains 2,468 colorful illustrations and text in both Spanish and Nahuatl (the language spoken by the Aztecs phonetically transcribed using Latin), is also known as the Florentine Codex because it is in the Medicea Laurencziana Library in Florence, Italy. 

>> To view the digitized manuscript which contains many intriguing and colorful illustrations, but, alas, not one of peyote, click here.

Pages from the Florentine Codex. This does not show peyote, alas.

Of peyote, Sahagún reports (as quoted in Omer C. Stewart, Peyote Religion: A History):

“On him who eats it or drinks it, it takes effect like mushrooms. Also he sees many things which frighten one, or make one laugh. It affects him perhaps one day, perhaps two days, but likewise it abates. However, it harms one, troubles one, makes one besotted, takes effect on one.”

Sahagún also reports that, according to his indigenous informants, the first to use peyote were the Chichimecas, a number of semi-nomadic northern tribes never completely subdued by the Mexica (or Aztecs). [See also Conflict and Conversion in Sixteenth Century Mexico: The Augustinian War on and Beyond the Chichimeca Frontier by Robert H. Jackson.]

(By the way, you may have noticed that I never link to wikipedia, aka The Maoist Muddle, unless there is absolutely, but absolutely, nothing else and a link really would be better than none. FYI: When I checked wikipedia for this post on the Florentine Codex, the images shown were from the wrong book.) 


PEYOTE ALSO MENTIONED IN DR. FERNANDO HERNANDEZ’S
DE LA HISTORIA PLANTARUM NOVAE HISPANAE
In 1570 King Felipe II sent medical doctor Fernándo Hernández (1514-1587) to New Spain to survey and report on the natural resources of the colony, including plants that might be put to medical uses. In his seven years in the Valley of Mexico (Mexico City and environs), Dr. Fernández documented a multitude of plants and a long-standing and elaborate tradition of Aztec herbal medicine. Dr. Fernández’s report on 3,000 plants, in various editions and languages, did not appear in print until some decades after his death. 

Amazingly, until 2002, with Simon Varey’s compilation  The Mexican Treasury: The Writings of Dr Francisco Hernándezalmost nothing about this veritable magnum opus could be found in English. From the catalog copy for that book:

“Hernández died before he could publish his Natural History, and the materials were placed in the Escorial, where they were extensively consulted, copied, abstracted, and translated by generations of scientists, medical specialists, and natural philosophers before they were destroyed by fire in 1671. Hernández’s work was still regarded as authoritative on a number of New World botanical topics as late as the nineteenth century, and his writings remain in use in popular form in Mexico today.”

I have yet to get my hands on a copy of The Mexican Treasury, but as quoted in Stewart’s Peyote Religion, in turn quoting a translation from a 1916 article by William E. Safford in Annual Report of the Smithsonian Institution, of peyote Dr. Fernández writes:

“Wonderful properties are attributed to this root… It causes those devouring it to be able to foresee and predict things; such, for instance, as whether the weather will remain favorable; or to discern who has stolen from them some utensils or anything else; and other things of like nature which the Chichimecs really believe them have found out. On which account this root scarcely issues forth but conceals itself in the ground, as if it did not wish to harm those who discover and eat it.”

FIRST IMAGE OF PEYOTE IN DR. HERNANDEZ’S MAGNUM OPUS, POSSIBLY… OR IN CURTIS’ BOTANICAL MAGAZINE — OR, POSSIBLY, IN THE VOYNICH MANUSCRIPT?
According to Stewart in Peyote Religion, the earliest known botanical illustration of peyote is from 1847, in Curtis’ Botanical Magazine. Hat tip to peyote and cactus blogger Lophophora, here is that very illustration, a lovely one, from the Botanicus Digital Library, Missouri Botanical Garden.

Lophohora williamsii, or peyote

However, it is possible that an even earlier illustration is in the Voynich manuscript, which has been carbon dated as several centuries old, but has yet to be deciphered. 

>> See the utterly fascinating 2013 paper by John D. Comegys, “The Voynich Manuscript: Aztec Herbal from New Spain.” Comegys also notes some possible influence from the work of Dr. Hernández. Comegy’s paper is fascinating read, and I highly recommended it for anyone interested in rare book history, botany and/or Mexico.

From the Voynich Manuscript. Peyote? Possibly…

PEYOTE IN THE LOWER PECOS CANYONLANDS
The archaeological record shows that peyote has been used many groups and many thousands of years into the past in what is today northern Mexico and remote areas along the Rio Grande on both sides of the US-Mexico border in Texas.

>>See the forthcoming book The White Shaman Mural by Carolyn Boyd. 

>> For a novelist’s take on ancient peyote ritual in what is now the Lower Pecos Canyonlands of Texas, see Mary S. Black’s Peyote Fire.  

>>And for more about the Lower Pecos Canyonlands and the magnificent rock art there, see my guest-blog post for Mary S. Black here.

PEYOTE IN THE INQUISITION
It is often said that the Mexican Inquisition focused on heretics, in particular conversos secretly practicing Judaism, but not indigenous. But the Inquisition did prosecute some indigenous and their use of peyote was often the issue.

Quoted in Stewart’s Peyote Religion (p. 20), in New Spain, in 16th and 17th century Catholic priests asked their parishioners:

Hast thou eaten the flesh of man?
Hast thou eaten the peyote?
Do you suck the blood of others?
Do you adorn with flowers places where idols are kept?

(For those not familiar with Mexican history, the first and third questions might seem extreme. All I can say is, read the history.)

And, according to Stewart, in 1620 “the Inquisition was brought to bear against peyote.”

From American Anthropologist 44, 1942:
Irving A. Leonard, “Peyote and the Mexican Inquisition, 1620”
A quote from Leonard’s translation of a Spanish document:

“We, the Inquisitors against heretical perversity and apostasy in the City of Mexico, states and provinces of New Spain, New Galicia, Guatemala, Nicaragua, Yucatan, Verapaz, Honduras, Philippine Islands, and their districts and jurisdictions, by virtue of apostolic authority, etc. Inasmuch as the use of the herb or root called Peyote has been introduced into these Provinces for the purpose of detecting thefts, of divining other happenings, and of foretelling future events, it is an act of superstition condemned as opposed to the purity and integrity of our Holy Catholic Faith

This is certain because neither the said herb or any other can possess the virtue or inherent quality of producing the effects claimed, nor can any cause the mental images, fantasies and hallucinations on which the above stated divinations are based. In these latter are plainly perceived the suggestion and intervention of the Devil, the real author of this vice, who first avails himself of the natural credulity of the Indians and their tendency to idolatry, and later strikes down many other persons too little disposed to fear God and of very little faith.

Because of these efforts the said abuse has increased in strength and is indulged in with the frequency observed. As our duty imposes upon us the obligation to put a stop to this vice and to repair the harm and grave offense to God our Lord resulting from this practice, we, after consultation and conference with learned and right-minded persons, have decreed the issuing of the present edict to each of you, one and all, by which we admonish you and summon you to obedience by virtue of your holy submission [to the Church] and under penalty of anathema… and other pecuniary and corporal penalties within our discretion. We order that henceforth no person of whatever rank or social condition can or may make use of the said herb, Peyote, nor of any other kind under any name or appearance for the same or similar purposes, nor shall he make the Indians or any other person take them, with the further warning that disobedience to these decrees shall cause us, in addition to the penalties and condemnation above stated, to take action against such disobedient and recalcitrant persons as we would against those suspected of heresy to our Holy Catholic Faith.”

In Peyote Religion, Stewart also includes a map (p.23) of the Inquisition hearings that specifically involved peyote, which were concentrated in Mexico City and surroundings, as well as scattered around what is now the main trunk of the Mexican republic (excluding the Baja California and Yucatan peninsulas). There were two cases in Manila (Philippines) in 1617 and 1639, as well as a case in 1632 as far north as Santa Fe. The case in Santa Fe involved someone who took peyote in order to divine who had stolen some of his clothing. 

(For those wondering, why Manila? The answer is the China trade, wherein Spanish merchants brought the Manila Galleon or Nao de China, across the ocean to Acapulco on the Pacific Coast, and from there, by burro train and tameme, brought the goods inland to Mexico City, parts elsewhere, and via Veracruz on the Gulf, across the Caribbean and Atlantic to Spain.)

Mexico City’s Palacio de la Inquisition is now the Museo de la Escuela de Medicina (part of Mexico’s National University). You can visit that museum, see the original building, and also an exhibition on cells used by the Inquisition.

The Inquisition on Youtube — who needs The Texas Chainsaw Massacre when you can surf around for all that infinitely more creative and toe-curlingly wicked gross-out stuff about Inquisition torture now on the Internet? For those with blood pressure issues, may I suggest Monty Python instead:

The Inquisition in Mexico City:
>> Museo de la Medicina Mexicana (in the Palacio de la Inquisición)

The Bancroft Library’s Collection on the Mexican Inquisition
>> Rare Documents Shed Light on Grisly Mexican Inquisition
>> News from the Bancroft Library: Inquiring About the Inquisition?
>> Guide to the Mexican Inquisition Original Documents Organized by Collection and Bancroft Manuscript Classification

Mexico’s Archivo General de la Nación also has a large collection on the Inquisition. Alas, at the time of this writing the website was down.

PEYOTE IN THE NATIVE AMERICAN CHURCH
North of the US-Mexico border– into Texas and beyond– peyote is used as a sacrament in the ritual of the Native American Church (NAC).  Is this legal? Yes, for members of the NAC, and only after a century of bitter struggle, with the 1994 amendment to the American Indian Religious Freedom Act, which protects the use of peyote in religious ceremonies. (Not that you, dear presumably non-Native American reader, can commence cultivating, selling, and scarfing down peyote as you please. For details, check out the current DEA status.)

Omer C. Stewart’s Peyote Religion: A History and Edward F. Anderson’s Peyote: The Divine Cactus both provide a a history of the founding of the “peyote church” on Plains Indian and other Indian reservations in the United States.

THE PEYOTE RITUAL ARRIVES FROM MEXICO IN TEXAS AND OKLAHOMA

Chevato was a Lipan Apache born in northern Mexico who, long story short, became a member of the Mescalero Apaches roaming both Mexico and Texas, and later, of the Comanches on that tribe’s reservation in Oklahoma, thanks to his friendship with chief Quanah Parker. 

His 2007 biography by his grandson, William Chebahtah, and Nancy McGown Minor, Chevato: The Story of the Apache Warrior Who Captured Hermann Lehman is both a major contribution to Comanche, Lipan Apache and Mescalero Apache history, and a gem-packed fascinating read– a must for any collection on the history of Northern Mexico and the Southwest. 

Apropos of peyote, Minor writes (p.73) that the Lipans stayed near Zaragosa (in Coahuila, northern Mexico) because of its proximity to a hill where peyote grew in abundance. “The Western Lipans had been using peyote in their ceremonies since at least the 1780s, and as the Lipans were dispered out of Coahuila and into New Mexico, they brought with them their special peyote rituals.”

Apart from doing all the Wild West things Apache warriors did in those days, Chevato was a shaman and a “peyote singer,” singing special songs during the all-night ritual. Chevato’s great-grandfather was the first Lipan to make use of peyote in Mexico. Minor:

“Although the Mescaleros had used peyote in their religious ceremonies… it was the Lipan Apaches who created the form of ceremony practised by the Mescaleros by 1870 and the Comanches after 1875.” 

Why 1875? The year prior to that the Quahada and other bands of Comanches had been defeated in a contest over “Anglos” taking the buffalo hunting grounds at The Second Battle of Adobe Walls, which was in the Texas Panhandle, prime buffalo hunting country. This defeat was the end of the end for the Comanches, and I believe that Quanah Parker’s adoption of the peyote ritual needs to be seen in this context.


UPDATE: Lonn Taylor’s Big Bend Sentinel column of August 20, 2015
“Comanche Chief Quanah Parker and His Quest for Peyote in Far West Texas”

So who was Quanah Parker? One cannot write about Far West Texas without writing about Comanches, and one cannot write about Comanches without writing about Quanah Parker, and one cannot write about Quanah Parker without writing about the Native American Church and peyote. So you can be sure, in my book I will be writing about them. 

It seems that everyone in Texas and Oklahoma already knows about Quanah Parker, the son of Comanche Chief Peta Nocona and Cynthia Ann Parker, who had been kidnapped as a child from her family’s farm in Texas and raised as a Comanche. 

(The John Wayne / Natalie Wood  movie The Searchers is loosely based on the novel that was, in turn, loosely based on the story of Cynthia Ann Parker.) 

Although it has little to say about peyote, one of the best books on the Comanches and Quanah Parker and an all-star crunchy fun read is S.C. Gywnne’s Empire of the Summer Moon. Humongously recommended.

>> Comanche Nation website
>> NYT article about Quanah Parker’s Star House
>> More about the Comanches in the paradigm-smasher by Pekka Hamalainen, Comanche Empire.
>> The Last Comanche Chief: The Life and Times of Quanah Parker by Bill Neeley
>> Johnny D. Boggs interview with S.C. Gywnne about Quanah Parker.


Quanah Parker in the first two-reel western ever filmed (in 1907): “The Bank Robbery”
(zip about peyote as far as I can tell)

Screenshot of Quanah Parker  from “The Bank Robbery,” 1908

UPDATE September 2, 2016
Thanks to Gene Fowler, none other, who very kindly sent me the link, I have added to that blog post this link (embed rather) to “Amada of the Gardens” a fascinating documentary on peyotera Amada Cardenas (1904-2005).

[VIDEO CURRENTLY UNAVAILABLE]


https://archives.lib.utrgv.edu/repositories/2/resources/210

THE PEYOTE WAY CHURCH OF GOD
An offshoot of the NAC, with Mormon roots, based in Arizona.
>> Peyote Way Church of God 
>> Peyote Way Church of God testimonials
Quote from a “Marine Corps Vet”: “forgiveness and acceptance of the past, and a firm commitment to a better future” and “Peyote doesn’t care about your past. What Peyote does care about is allowing you to see the perfect you; free from irrational fear, shame and hang-ups.”
>> See also “A Remote Arizona Church Offers Followers Peyote-Induced Psychedelic Trips” by Eric Tsetsi, Village Voice, January 8, 2014


ON THE SPREAD OF PEYOTE RELIGION
From the article “The Native American Church” in the Encyclopedia of the Great Plains, hosted by the Center for Great Plains Studies at the University of Nebraska-Lincoln.

“While the exact origins of the Native American Church and its incorporation of peyote as a sacrament of communion are shrouded in oral history, Native believers generally agree that it began in the Southwest and worked its way up from Mexico. Among the Plains Indians, the Omahas, Poncas, Winnebagos, and Sioux readily accepted the belief system of the Native American Church.”


As I understand it, the NAC is now pan-Indian.


George Morgan had much to say about peyote and the NAC:
>>George Morgan, “The Native American Church: Recollections of the Peyote Road”


MORE MISCELLANEOUS NOTES ON PEYOTE:

>> The basics according to Texas Beyond History.

>>“With the Peyoteros” by Karen Olsson for The Texas Observer, March 2, 2001.
Strong demand, plus fences and ranches plowed over for deer hunting, make finding peyote in the wild increasingly challenging.

>>Bob Prue, “Protecting the Peyote for Future Generations: Building on a Legacy of Perseverance” 
(Excerpt from the anthology Peyote: History, Tradition, Politics and Conservation)

>> ‘The Heart of the Great Spirit: The Peyote Cactus” 
By Stephen Gray, Reality Sandwich

>> Lophophora Blog
A blog all about peyote.


“AN ORDINARY ROCK COULD CURE YOU”:
PEYOTE MENTIONED IN JEWEL BABB’S MEMOIR


A quote from one of my very favorite books about anyone or anything or anywhere in Far West Texas, Border Healing Woman: The Story of Jewel Babb as Told to Pat Little Dog (p. 95-96):

“Indians from Mexico would come across hunting medicine plants and, above all, the cactus peyote. Six or seven of these men would walk up to the house wanting something to eat or water. The Indians were great beggars and always wanted you to give them anything that they could carry off. Sometimes they’d show me the different medicine plants they’d gathered and what each plant was for in curing. I learned lots from them and also from the old men and women that were my neighbors living in Mexico that came to see me at different times. One bunch of Indians came to see me from Oklahoma. They were looking for the cactus peyote. And as we talked, one said, ‘If you have faith, an ordinary rock could cure you.'”

PEYOTE TESTIMONY: YOUTUBERIE AND MORE

“Sacred Peyote”: a short documentary film about peyote and the Native American Church.

GERMAN-MEXICAN AMIGO GIVES TESTIMONY 
My friend Hans Lens’ memoir. More about this anon.


GRINGOS GIVE TESTIMONYTara from “40BelowFruity” on her experience ingesting peyote
“Not as easy experience… I was feeling a lot of nausea… deep-seated, buried issues… I was resisting it… I started to become overwhelmed… peyote brought [memories] to the surface…I felt like I had been completely ripped apart and put together again… like a new person, reborn… It has the power to heal people.” 

“The Mind Divided” shares his reflections on his peyote experience 
and what he believes was the beautiful lesson: “Lighten up… embrace and enjoy life.”

Blogger Sara Brooke shares her experience with peyote in this post. A quote: 


“It is conscious medicine, a consciousness that is far more intelligent than our own. It needs to be treated with respect and care and it honestly is something that isn’t for everyone. Psychologically, mentally, emotionally, physically and spiritually you have to be ready for it. It gives you an opportunity to face ALL parts of yourself, especially the shadow aspects. It is one of the most confronting, yet profound and worthwhile experiences I have ever had. I am eternally changed.” 

>> “Through the Lens of Perception” by Hal Zena Bennett in Shaman’s Drum: A Journal of Experimental Shamanism, Fall 1987. Adventure in a Mexican cave with peyote.

>> Related: Amber Lyon, “How Psychedelics Saved My Life” 
(Ayahuasca and mushrooms)
>> But aura reader Rose Rosetree offers a stark warning about ayahuasca.


(WHAT ABOUT CARLOS CASTANEDA? He did write about peyote in his several best-sellers. Alas, dude, not on my wavelength.)


AN ESOTERIC HYPOTHESIS  ABOUT PEYOTE WHICH I DO NOT INTEND TO TEST
My drug is coffee! My own ventures into the esoteric have not been psychedelic but literary– primarily by way of the Himalayas of reading I did for my most recent book, Metaphysical Odyssey into the Mexican Revolution: Francisco I. Madero and His Secret Book, Spiritist Manual. Indeed I read so much esoterica that my sense of cognitive dissonance went from geyser to sputter, then a little puddle, then, well… that dried up. So now, no problemo, I could read about oh, say, aliens tokin’ peyote. That doesn’t mean I am saying anything about aliens tokin’ peyote. I am unaware of any such report. 

Scion of a wealthy family in Coahuila, Francisco I. Madero was the leader of Mexico’s 1910 Revolution and President of Mexico from 1911-1913. I am often asked what he knew about indigenous shamanistic traditions. I did not find any evidence that Madero had any interest in or experience with peyote nor, indeed, with indigenous healing traditions other than an association, late in his short life, with his Masonic brother and fellow Spiritist and doctor, the Mexican-German spy Dr Arnoldo Krumm-Heller, aka “Maestro Huiracocha,” author of a number of works, including El zodiaco de los incas en comparación con los aztecas, 1910.
Madero’s personal library contained mainly French and Ango-American (some in the original, some in Spanish translation) literature on Spiritualism, Spiritism, Theosophy, hypnotherapy, French occultism, the Bhagavad-Gita, adventures into Tibet, and the like. His work that I translated, Manual espirita of 1911, references many of these works. 

Educated in France, where he discovered Spiritism and other esoteric ideas then in vogue, Madero would have been familiar with the Hindu concept, as conveyed to the West through the writings of various Theosophists, of the human body as having interpenetrating “energy bodies” and specific energy vortices known as “chakras.” Under this paradigm, my hypothesis– and take this with a truckload of salt, I am not sure I have a clue what I am talking about– is that ingesting peyote removes certain neuro-filters in the pineal gland and actives a chakra so that one can clearly perceive blockages and other auric debris, and one’s own emotional body. Which chakra might that be? Heart– I guess. Just a guess. 

Continuing to follow my understanding of what could have been Madero’s hypothetical paradigm for understanding peyote, there may also be one or more conscious and intelligent astral entities / spirit guides associated with the plant. This concept is eloquently articulated in Eliot Cowan’s Plant Spirit Medicine.

Most modern doctors and scientists would focus on peyote’s botanical, chemical, medicinal pharmacological aspects, and specifically, their measurable effect on the brain and body. Several chapters are devoted to these topics in Anderson’s Peyote: The Divine Cactus.



AN EMBRYONIC PEYOTE BIBLIOGRAPHY

Anderson, Edward F. Peyote: The Divine Cactus.

Chebahtah, William, and Nancy McGown Minor. Chevato: The Story of the Apache Warrior Who Captured Hermann Lehman.

Cobb, Russell, “Texas’ Peyote Hunters Struggle to Find a Vanishing, Holy Crop”Dallas Observer, February 14, 2008.

Cowan, Eliot. Plant Spirit Medicine.

Furst, Peter T. Rock Crystals and Peyote Dreams: Explorations in the Huichol Universe.

Lens, Hans. Una visita a los huicholes.

Michaux, Henri. Miserable Miracle.

Melville, Michael J. Peyote Ceremony (thesis).

Morgan, George. “The Native American Church: Recollections of the Peyote Road”

Myerhoff, Barbara G. Peyote Hunt: The Sacred Journey of the Huichol Indians.

Shaefer, Stacy B. and Peter T. Furst, eds. People of the Peyote: Huichol Indian History, Religion and Survival.

Shaefer, Stacy B. Amada’s Blessings from the Peyote Gardens of South Texas.

Stewart, Orner Call. Peyote Religion: A History.

The True Identity of B. Traven Revealed by Timothy Heyman in Letras Libres

Q & A: Mary S. Black on Her New Book, From the Frio to Del Rio

The Pecan: A History of America’s Native Nut by James McWilliams

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C.M. Mayo’s books, articles, podcasts, and more.

Notes on Artist Xavier González (1898-1993), “Moonlight Over the Chisos,” and a Visit to Mexico City’s Antigua Academia de San Carlos

It was in 2012, when I started on my still in-progress book about Far West Texas, that I first encountered the paintings of Xavier González in the Museum of the Big Bend on the Sul Ross University Campus in Alpine, Texas. I was there to see “The Lost Colony,” an exhibition  of works by painters associated with the summer Art Colony of the Sul Ross College (now Sul Ross State University). The works were from 1921-1950; the Art Colony, formally so-called, spanned the years 1932-1950.

Curator Mary Bones gave me a fascinating interview about “The Lost Colony,” which you can listen to here.)

“MOONLIGHT OVER THE CHISOS,” 1934

The artwork by Xavier González that most enchanted me was his magnificent “Moonlight Over the Chisos” of 1934. It was not in the show itself, however, but tucked into the top of the stairwell leading down to the museum’s map collection– not an ideal location, but no doubt one of the few available walls large enough to accommodate the massive 6 x 14 feet canvas. 

“Moonlight Over the Chisos” is in the tradition of Mexican murals of the 1930s, although technically not a mural, as it is painted on canvas. (In no way do these two photos, snapped with my iPhone and pasted together with a screenshot, do this masterpiece justice. Alas, the painting is so large, I couldn’t back up far enough to fit the whole of it into one shot.) 

(Dear reader, if you haven’t hiked the Chisos, you have yet to live.) 

XAVIER GONZÁLEZ IN MEXICO CITY
(RESEARCH UNDERWAY…)

What also caught my attention was that González had studied art in Mexico City and precisely during the time of great muralists, among them, Diego Rivera. Mary Bones told me: “Xavier González spent many summers down in Mexico and Mexico City looking at the muralists.” 

Born in Almería, Spain in 1898, as a child Xavier González immigrated with his family to Mexico. 

An important influence on his development as an artist was his maternal uncle, the academic painter José Arpa (1858-1952), a native of Spain who later divided his time between Mexico City and San Antonio– and became a leading figure in the art community of the latter, running an art school out of the Witte Museum. According to the notes for “The Three Worlds of Jose Arpa y Perea” exhibition of 2015 from the website of the San Antonio Museum of Art, Arpa won the Rome Prize three times and had been offered the directorship of the Academia de San Carlos, but instead worked independently. In my notes from a visit to González’s archive in the Smithsonian (box 4, unattributed article):

“[José Arpa] received his early art training at the School of Fine Arts in Seville… His first success was in 1891, when his painting of Don Miguel de Manarra won first prize in the Madrid exhibition. Travels in Africa and Europe followed… the Spanish government sent for of his paintings to the first World’s Fair held in Chicago in 1893 as representative of the best of Spain…. shortly after that time the Mexican government sent a man-of-war to Spain and brought him to Mexico to assume charge of the academy of Fine Arts in Mexico City. He later declined the appointment, but remained for many years becoming enthralled with the light and color and movement of the country…”

At age thirteen (circa 1911) Xavier González was studying at the Academia de San Carlos in Mexico City. This was the same time that 15 year old David Siquieros, who was to became one of Mexico’s greatest muralists, was also beginning his studies at San Carlos. (Did they take the same classes?) 

In 1913 the violent stage Revolution intervened… I’m still a little foggy on the details of González’s early life… 

The Lost Colony catalog notes that González studied and worked as a mechanical engineer. In 1922 he was working in Iowa for a railroad. Later he studied at night and graduated from the Chicago Art Institute. In 1925, he was assisting his uncle José Arpa in his art school in San Antonio’s Witte Museum and from 1927-29 he was teaching classes himself.
González became a US citizen in 1930 and the following year took a faculty position at Sophie Newcomb, the women’s college now folded into Tulane University in New Orleans.

From “The Lost Colony” catalog:

“…much of the work was to be done en plein air with frequent trips to the Davis and Chisos Mountains”

> 1932 González conducted the first summer Art Colony at Sul Ross (along with Julius Woeltz and Aline Rather)
> 1933 González in Paris, and also Mexico City (on a leave of absence from Sophie Newcomb College.)
> 1934-1939 González conducted sessions of the summer Art Colony.
> 1935 González married his student Ethel Edwards.

More about Xavier González:
New York Times obituary
Texas State Historical Association
David Dike Gallery;
Archives of American Art Xavier González papers –and also the papers of his wife, artist Ethel Edwards 1935-1999). 

I hope to be able to dig into the archives at the Academia de San Carlos to find out when exactly González attended and with whom he studied. I am also curious to learn why his uncle José Arpa, after coming all the way from Spain, did not take the helm at the Academia de San Carlos.

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A VISIT TO THE ANTIGUA ACADEMIA DE SAN CARLOS
(Not to be confused with the Museo San Carlos, different building, different neighborhood. Uyy, Mexico City is endlessly endless.)

Herewith a batch of notes, GIFs, photos and brief videos from my recent visit to the Antigua Academia de San Carlos which now serves as the National University (UNAM) campus for masters and doctoral degrees in the fine arts. Art history professor Dante Díaz Mendieta leads tours on the last Wednesday of each month. (For details scroll down to the end of this post.)

You’ll find the Antigua Academia de San Carlos a short walk behind the National Palace, at the corner of Moneda and Academia Streets (Calle Moneda y Calle Academia). This GIF shows my approach from Moneda, the National Palace along the right, then the terracotta-colored neoclassic Italianate façade of the Academia de San Carlos. 

APPROACHING THE ANTIGUA ACADEMIA SAN CARLOS FROM CALLE MONEDA

The site of the Academia de San Carlos has been continually occupied for almost 500 years. The land once backed the Aztec emperor Moctezuma’s palace, Casas Nuevas. After the Conquest the parcel became the property of the Church; the original building arose as a hospital specializing in syphilis patients. 

In the late 18th century King Carlos III sent his chief engraver to New Spain– Mexico wasn’t yet Mexico– to establish an academy and so improve the production of coins– hence the Academia de San Carlos’ location, only steps from the Casa de Moneda, the mint for the colony which was founded in 1535. 

Classes began in 1781 and the Academia de las Nobles Artes de San Carlos de la Nueva España, offering instruction in architecture, engraving, painting, and sculpture, was officially inaugurated in 1785.

The oldest fine arts academy in the Americas, San Carlos has been in almost continuous operation for 235 years. It closed in 1822, during the cash-strapped years of the First Empire, and not until 1843 did it reopen, when Santa Anna, in a moment of inspiration, joined it to the lottery which became known as the Lotería de San Carlos. According to the Mexican Lottery website (my translation):

“The San Carlos Lottery utilized its income to acquire important artworks, provide scholarships for the Academia de San Carlos, and to bring important teachers to Mexico among them, the painter Pelegrín Clave, sculptor Manuel Vilar, landscape painter Eugenio Landesio and architect Javier Cavallari… Thanks to this lottery’s economic success it was possible to address other large and urgent needs of the general population in a time of foreign invasions and civil wars that left in the country in circumstances of chronic poverty.”

My 49 second video below shows the entrance, then the central patio before “Winged Victory” and brief look at glass dome which was installed by Antonio Rivas Mercado in 1913. According to Mauricio Tenorio-Trillo in I Speak of the City: Mexico City at the Turn of the Twentieth Century (high recommended):

“Antonio Rivas Mercado was one of the few Mexican architects favored with contracts for major national construction projects. But he was a French-trained architect, a follower of the Paris beaux-arts style, who had lived in London and Paris for many years.”   (p. 22) 

The dome was manufactured in France. Note the Art Nouveau ojos de buey or oval windows, also designed by Rivas Mercado for the section added to help support the dome’s weight. Part of the tour included a jazz concert by Los Cuatro Saxofones (The Four Saxophones).

Here is a much better video made by the university (about 7 minutes, in Spanish):

Winged Victory represents the goddess Nike. Most Mexicans, familiar with the American sports shoe brand, pronounce Nike to rhyme with bike. Professor Díaz Mendieta set his audience straight. In Spanish Nike is pronounced Nee-keh. She is the symbol of the Academia de San Carlos. The other 19th century plaster casts of iconic Greek and Renaissance sculptures, including Michelangelo’s Moses and head of David, are not for decoration but for the students to copy.

This handsome gallery of walnut wood and gold leaf features a ceiling decorated with portraits of artists and scientists including Copernicus and Raphael. A few of the heads fell off during the 1985 earthquake.  There was little light by this time, alas; the colors in this room are actually rich and brilliant.

And this is the Centennial Gallery, decorated in the then fashionable Frenchified festoonerie for the academy’s 100th anniversary:

Voilà, Weltschmerzerie and sparkly donuts:

Finally, here is a GIF of Professor Díaz Mendieta wrapping up the tour in the torreo or bullring, an original classroom. The torreo was used not for making art but teaching theory and history of art. No doubt Diego Rivera addressed students here, as did his professor, Santiago Rebull, and many more in a long list of Mexico’s greatest artists. 

PROFESSOR DANTE DIAZ MENDIETA IN EL TORREO, OR THE BULLRING, THE CLASSROOM AT THE ANTIGUA ACADEMIA DE SAN CARLOS

The desks are notably narrower than in classrooms today. The room (was it windowless?) felt a smidge creepy.

SIDEBAR (FROM ONE VERY MACHO MUNDO): 
A FEW OF THE NOTABLE ARTISTS OF THE ACADEMIA DE SAN CARLOS, BY DATE OF BIRTH

MANUEL TOLSA, AN ARCHITECT AND SCULPTOR WHO MERITS AT LEAST 378 BLOG POSTS

Manuel Tolsá (1757-1816)

SANTIAGO REBULL, MAXIMILIAN’S COURT PAINTER; LATER ONE OF DIEGO RIVERA’S PROFESSORS AT THE ACADEMIA DE SAN CARLOS

Santiago Rebull (1829-1902)

José María Velasco (1840-1912)

Antonio Rivas Mercado (1853-1927)

Jesús Fructuoso Contreras (1866-1902)

Dr. Atl (Gerardo Murillo) (1875-1964)

José Clemente Orozco (1883-1949)

Diego Rivera (1886-1957)

Saturnino Herrán (1887-1918)

David Siquieros (1896-1974)

Xavier González (1898-1993)

Rufino Tamayo (1899-1991)

Luis Nishizawa (1918-2014)

¿FANTASMAS? POR SUPUESTO, AMIGOS

The great glass dome had gone dark when Professor Díaz Mendieta concluded on the wicked note that of course there are ghosts in here: a little girl who laughs; loud knocks; and, as the nightwatchman swears, on occasion in the wee hours of the night, moving from one side of the entrance foyer and disappearing into the opposite wall, a procession of monks holding torchlights. 

Recently the National Institute of Anthropology and History (INAH) conducted an excavation that turned up 17 bodies. Presumably these were not of art students but syphilis patients of the 18th, 17th, or even 16th century.

¿Y LA FRIDA?

It’s impossible to talk about Mexican artists without mentioning Frida Kahlo. No, Professor Díaz Mendieta answered the question, Frida did not take classes at the Academia de San Carlos; at that time it was for men only, but Frida hung out here (andaba aquí) with her sweetheart, Diego Rivera.

In a future blog post I will talking about González’s wife Ethel Edwards; also about noted Texas regionalist painter Julius Woeltz (1911-1956), a student of González’s who taught at the summer art colony at Sul Ross and who accompanied González on some of his trips to paint in Mexico City in 1934 and 1935. (Woeltz also served as best man at González’s wedding.) I hope to also unearth more about Woeltz in the archives of the Academia de San Carlos. Stay tuned. Curator Mary Bones also talks about these and many other artists of the “Lost Colony” in my “Marfa Mondays” podcast interview. Again, that recording and transcript are available free here.

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HOW TO GET THE TOUR

On the last Wednesday of every month, at 7 PM, UNAM art history professor Dante Díaz Mendieta offers a free tour, no reservations required. (In Spanish, of course.) Check for updates on the Facebook pages “Difusión San Carlos” or “GestionCulturalSanCarlos” or call tel. 5522-0630 ext 228. 

A tour of the Academia de San Carlos is also included in the annual Festival del Centro Histórico de la Ciudad de México. The 2016 Festival concluded in March; look for it again in 2017.

An Interview with Alan Rojas Orzechowski 
about Maximilian’s Court Painter, Santiago Rebull

Biographers International Interview with C.M. Mayo: 
Strange Spark of the Mexican Revolution

The Marfa Mondays Podcast is Back! No. 21: 
“Great Power in One: Miss Charles Emily Wilson”

Find out more about
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