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Thirty Centuries of Mexican Art
| Article
# : |
18087 |
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Section : |
THE ARTS
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| Issue
Date : |
11 / 1990 |
2,613 Words |
| Author
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David D''Arcy
David D'Arcy broadcasts on cultural matters on National Public
Radio. |
In his ambitious introduction to the mammoth catalog for the Metropolitan Museum of Art's current exhibition, Mexico: Splendors of Thirty Centuries, the distinguished poet and essayist Octavio Paz writes that "Mexico has been and is a boundary between people and civilizations.” For more than a century and a half, a crucial literal boundary for Mexico has been the Ro Grande, separating the country from its northern, powerful neighbor, the United States. One clear hope for the exhibition at the Metropolitan is that the cultural boundary between Mexico and the United States, symbolized by the dividing river, may be crossed by those visiting the exhibition during its three-city American tour.
Paz establishes the theme of the Met's exhibition as being, "the persistence of a single will through an incredible verity of forms, manners and styles. There is no apparent commonality among the stylized jaguars of the Olmecs, the gilded angels of the seventeenth century, and the richly colored violence of a Tomayo oil-nothing, save the will to survive through and in form …. An attentive and loving eye will perceive, in this diversity of works and epochs, a certain continuity. Not the continuity of a style and idea, but something more pound and less definable: a sensibility."
Pre-Columbian Popularity
Tracing that sensibility from 1000 B.C. to the arrival of the Spaniards may well be the greatest challenge of the Met's show. Despite the great popularity of pre-Columbian objects in the United States since the 1960s, Julie Jones, curator in the museum's department of primitive art, who organized the entire pre-conquest section of the exhibition,
... (1996 of 16203 Characters)
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