#MexicanArt is an active hashtag on Bluesky. In the last 30 days, 15 people shared 35 posts with it — around 1 a day. Activity is up 733% versus the previous week, peaking on Sep 21 with 8 posts.

Posts with #MexicanArt

Patrick Kapty

@patrickkapty.bsky.social

about 19 hours ago

Totemic Sculpture carved red tezontle volcanic stone nd Pedro Reyes (b. 1972) Mexico #handmade #carved #tezontle #volcanic #stone #red #sculpture #contemporarysculpture #PedroReyes #cdmx #mexico #art #contemporaryart #MexicanArt #MexicanArtist #MexicanSculptor #totem #geometric #abstract #activism

Pedro Reyes (Mexico City, Mexico, 1972) is a multidisciplinary artist whose practice spans sculpture, architecture, theater, psychology, and activism. Although trained as an architect, he primarily defines himself as a sculptor, even as his artistic output defies categorization. He is widely recognized for projects that address issues such as gun violence, democracy, the environment, and mental health.
Reyes believes that art must offer alternatives and visions of the future, even utopian ones. For him, humor is a powerful tool for disarming resistance and engaging with difficult topics, serving as a bridge between critique and imagination.
Solo exhibitions include Amnesia Atómica, Museo Anahuacalli, Mexico City (2024); Direct Action, SITE Santa Fe, New Mexico (2023); Museum of Contemporary Art of Monterrey, Monterrey (2022); Escultura Social, MARCO, Mexico (2022); Pedro Reyes, Luisa Strina, São Paulo (2021); Return to Sender, Museum Tinguely, Basel (2020); Glyptotek, Lisson Gallery, London (2018); Recent Works, Luisa Strina, São Paulo (2017); Doomocracy, Creative Time, New York (2016); Domingo Salvaje, La Tallera/SAPS, Cuernavaca (2016); For Future Reference, Dallas Contemporary (2016); pUN: The People’s United Nations, Hammer Museum, Los Angeles (2015); Sanatorium, The Power Plant, Toronto (2014).
His work is part of numerous public and private collections, including: 21st Century Museum of Contemporary Art, Kanazawa; Brooklyn Museum, New York; Colección Jumex, Mexico City; ICA Institute of Contemporary Art, Miami; Kadist Art Foundation, San Francisco; Bronx Museum, New York; Carnegie Museum, Pittsburgh; La Tallera/SAPS, Cuernavaca; MAXXI, Rome; MAC/VAL, Vitry-sur-Seine; Museo Rufino Tamayo, Mexico City; MUAC, Mexico City; MFA, Boston; Walker Art Center, Minneapolis.

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Michael

@mdstamper.bsky.social

about 1 year ago

"Retrato de Lucha María, niña de Tehuacán" by Frida Kahlo (Mexican) - Oil on masonite / 1942 - San Diego Museum of Art (California) #WomenInArt #FridaKahlo #art #Kahlo #artwork #WomanArtist #WomensArt #MexicanArtist #FemaleArtist #artText #MexicanArt #ModernArt #WomenArtists #SanDiegoMuseumofArt

A young woman sits barefoot on a pale rock in a barren landscape under a dramatic sky. She wears a knee-length white dress with a black-and-white patterned jacket. Her dark hair with braids is parted and pulled back, framing a calm face that gazes directly at us. In her lap, she holds a carved wooden toy shaped like a plane. Behind her, swirling gray clouds frame two glowing orbs: a bright red sun to the right and a pale moon to the left. Low ochre pyramids sit in the distance, emphasizing her still, symbolic presence between earth and sky.

This portrait by iconic Mexican artist Frida Kahlo fuses realism with cultural and historical symbolism. Lucha Maria sits firmly on rock, her innocence grounded in both childhood and the deep roots of Mexican identity. In her lap rests a camouflaged model military plane that is a toy yet likely a reminder of World War II, reflecting global turbulence entering even private lives. Behind her, two step pyramids evoke Mexico’s ancient civilizations and continuity of heritage. Above, sun and moon appear together, a Mesoamerican symbol of cosmic dualities: life and death, day and night. By placing the young woman between pyramids, celestial forces, and war’s shadow, Kahlo entwines childhood, national identity, and global conflict into a meditation on resilience and cultural endurance.

In 1942, when Kahlo painted "Portrait of Lucha Maria, A Girl from Tehuacan," her health was fragile but her artistic recognition was rising. She had recently joined Mexico’s artistic movement to honor national identity and indigenous culture. Diego Rivera’s fame still overshadowed hers, yet Frida was carving her own place. Through "Lucha Maria," she reflected both childhood innocence and Mexico’s cultural heritage, even as she faced personal pain and growing creative independence. It is a layered meditation on childhood, heritage, and the world’s upheaval, showing Kahlo’s ability to turn a portrait into a reflection on identity, culture, and history.

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Fruty 🍓🐛 (commissions open)

@panciraptor.bsky.social

over 1 year ago

❄️🐛 Talavera Snom 🐛❄️ #Snom #Snomnom #Pokemon #Fanart #Digitalart #Digitaldrawing #Pokemonart #Pokemonfanart #Yukihami #Frosmoth #ユキハミ #モスノウ #Mothnow #Talavera #ceramicart #MexicanArt #mexicantalavera #panciraptor

Digital fanart of Snom, a cute larva pokémon. Here, decorated in a style reminiscent of Mexican Talavera pottery, typical from Puebla, Mexico.

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Michael

@mdstamper.bsky.social

over 1 year ago

Autorretrato con traje de terciopelo (Self-portrait wearing a velvet dress) by Frida Kahlo (Mexican) - Photograph colored with oil / 1926 - Museo Frida Kahlo (Mexico City) #womeninart #womanartist #MuseoFridaKahlo #femaleartist #womensart #art #FridaKahlo #Kahlo #MexicanArtist #MexicanArt #artwork

On September 17, 1925, Frida Kahlo was seriously injured in a traffic accident. The bus she was riding with her boyfriend, Alejandro Gómez Aria, was unable to slow down and was struck by a streetcar. Frida spends a month in the Red Cross hospital, where her older sister, Matilde, visits her.

When she returns home from the hospital, Frida must remain bedridden for months. Her mother has a mirror put in the panel over her bed, and with paint she asked her father to get, Frida begins to draw. Her parents also have an easel made that allows her to paint while lying down. That painting is her first self-portrait and was a gift for her boyfriend, Alejandro, who had recently broken up with her for being too liberal. To win back his affection, Kahlo sent him this self-portrait with a letter attached stating: “I implore you to put it in a low place where you can see it as if you were looking at me.”

This self-portrait, influenced by the work of Parmigianino or Modigliani, is considered by many to be the first "professional" artwork of the artist. Kahlo then used a photo of the painting to create this artwork at the Museo Frida Kahlo by painting oil on the image and thus copying her own painting.

Kahlo portrays herself from the waist up, in a regal, classical position. She is wearing a deep red dress with a patterned collar, her right hand is raised and she stares directly out of the canvas at us. Her strong gaze, combined with her elongated neck and fingers and her heavily defined eyebrows were all details that would continue to appear in her later self-portraits.

In the background is a stormy seascape, with rolling waves against a black sky, which she claimed were symbols of life. The contrast between the relative realism of her own self portrait and the naive style in which the background is depicted is characteristic of Kahlo’s style. It is the result of her self taught style, drawing inspiration from her native Mexican folk art as well as Western art.

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The Zen of True Art

@thezenoftrueart.bsky.social

28 days ago

Diego Rivera, "Still Life (Mallorca)," oil on canvas, 1915; Columbus Museum of Art. #art #arte #modernart #diegorivera #mexico #mexicanart #abstractart #abstractpainting #stilllife #paintings #pinturas #museum #museo #artgallery

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Rosehr Photography

@rosehrphotography.bsky.social

10 months ago

Absolutely loving this vibrant piece of hand-painted pottery! The detailed floral and geometric work reminds me so much of beautiful Talavera ceramics. What a perfect, colorful addition to any garden or patio! 🌸🇲🇽 #PotteryLove #Ceramics #Talavera #MexicanArt #BirdFeeder

A person's hand holds up a highly detailed, hanging ceramic bird feeder or lantern. The piece is painted in a style similar to Talavera pottery, featuring a navy blue base with intricate, brightly colored floral and geometric designs in blue, yellow, red, and green. Two small, sculpted ceramic birds, one yellow and one dark brown, sit on the saucer-like base, flanking a central arch. The background is a blurred image of colorful textiles at an outdoor market.

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Sophie (she/her/ella)

@gildedflowers.bsky.social

almost 2 years ago

Hi! I'm Sophie :) I'm Mexican-American, from Texas, and currently living in Ontario. I made all these headpieces/crowns and also did all the makeup. I hope to expand my skills and share them with you ~ #Meettheartist #headpieces #crowns #catrinas #flowercrowns #Mexicanart #artvsartist #artpost

There is a 3x3 grid of 9 different photos. Top L: Sophie is sitting in a black chair wearing colorful skull makeup and a colorful flower ray crown. Top Mid: Sophie stands before a magnolia tree, wearing skull makeup and a gold leaf crown with magnolias. Top R: A silver art nouveau headpiece with bells and blue beads is resting on a white wig. Mid L: Rose is sitting in a sunflower field at golden hour, wearing a sunflower crown. Center: Sophie is wearing neutral makeup and smiling at the camera. Mid R: Zoha is wearing a colorful flower crown, black lace, and white lace skull makeup. Bottom L: A white, gold, and black headpiece is standing on a black wig stand covered in black lace. Bottom Mid: Sophie is wearing a large gold halo crown with orange and red flowers She's wearing skull makeup and a shirt with Tlahui embroidery. Bottom R: Sophie is wearing a gold ray crown with red roses on the sides and has on black and gold skull makeup.

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Michael

@mdstamper.bsky.social

about 1 year ago

"Self-Portrait with Cropped Hair" by Frida Kahlo (Mexican) - Oil on canvas / 1940 - Museum of Modern Art (New York) #WomenInArt #art #WomanArtist #MOMA #FemaleArtist #Frida #Kahlo #FridaKahlo #WomenArtists #WomansArt #PortraitofaWoman #MuseumofModernArt #MexicanArtist #MexicanArt #artwork #portrait

Mexican artist Frida Kahlo cut her hair short a month after her 1939 divorce from fellow Mexican artist Diego Rivera, and she painted this self-portrait soon after. Here she depicted herself wearing an oversized charcoal men’s suit and crimson dress shirt -- possibly Rivera’s -- instead of one of a traditional Mexican dress that she is often shown wearing.

Her masculine haircut and garments contrast with her delicate, dangling earrings and petite high-heeled black shoes. Kahlo holds a pair of scissors in one hand and a lock of hair in the other, and her shorn tresses seem to slither and writhe around her.

Above the scene, accompanied by a sequence of musical notes, are lyrics from a Mexican folk song that, when translated, read: “Look, if I loved you it was because of your hair. Now that you are without hair, I don’t love you anymore.”

For some, Kahlo may have made this portrait to mourn the absence of her ex-husband, who had been unfaithful (and whom she would remarry by the end of 1940). For others, this image is a declaration of Kahlo’s self-reliance and independence.

Though many Surrealists adopted Frida Kahlo as one of their own, the painter maintained that she did “not know if my paintings are Surrealist or not, but I do know that they are the most frank expression of myself.” She produced numerous self-portraits, each one an articulation of different facets of herself and her eventful life.

Rivera had always admired her long, dark hair, which, as she indicates in the tresses littering the painting, she had cut off after their split. Through such emotionally and symbolically charged details, Kahlo expresses her feelings about her relationship with Rivera, while also asserting her sense of self as an independent artist.

Personal isolation -- its pain and its strength -- is a recurring force across the 60 self-portraits Kahlo painted. “I paint self-portraits because I am so often alone,” Kahlo once explained, “because I am the person I know best.”

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Michael

@mdstamper.bsky.social

7 months ago

“Dos Mujeres” (Two Women) by Diego Rivera (Mexican) - Oil on canvas / 1914 - Arkansas Museum of Fine Arts (Little Rock, Arkansas) #WomenInArt #DiegoRivera #Rivera #ArkansasMuseumofFineArts #ArkMFA #Cubism #PortraitofWomen #art #AMFA #artText #BlueskyArt #MexicanArt #CubistArt #pintura #MexicanArtist

Mexican artist Diego Rivera painted this in Paris during his Cubist period, and it is also a candid portrait of his life there. A standing woman is his first wife, the artist Angelina Beloff, speaking with their friend and fellow artist Alma Dolores Bastián (nicknamed “Moucha”), who is seated. The setting is tied to their Montparnasse building at 26, Rue du Départ for an everyday studio world reframed through the avant-garde grammar of multiple viewpoints and flattened space.

The two women fill a tall canvas built from crisp, interlocking planes. At left, Alma, in a white dress, reclines in a chair. Her bent arm and hands gather around a small book, its warm cover a rare block of earthy color amid cool grays. At right, Angelina, in a deep blue dress, leans slightly forward, hands clasped at her waist as if pausing mid-thought. Their faces, hair, and bodies are “broken” into facets with cheeks, collarbones, and sleeves suggested through angled shapes rather than smooth contour … so we experience them as both people and architecture. Behind the two ladies, a simplified Paris skyline rises in stacked blocks, turning rooftops and walls into a rhythmic backdrop. The mood is intimate but unsentimental showing two artists sharing space, attention, and conversation inside a modern city that feels close enough to press against the figures.

The Arkansas Museum of Fine Arts notes Rivera looked out on a “vast sea of rooftops” with a “rumble of trains” nearby, a sensory detail that fits the painting’s angular pulse of city and motion. The work’s comparatively lighter palette hints at Rivera’s next turn when he moved away from abstraction and toward socially legible imagery. Within a few years, shaped by revolution and the impact of Italian frescoes, he redirected his ambition into murals meant for broad public audiences, carrying this hard-won modern structure into storytelling about workers, politics, and Mexican history.

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Michael

@mdstamper.bsky.social

over 1 year ago

Florida Mexicana by Alfredo Ramos Martínez (Mexican) - Oil on canvas / c. 1936 - Crystal Bridges Museum of American Art (Bentonville, Arkansas) #womeninart #art #oilpainting #MexicanArtist #AlfredoRamosMartínez #RamosMartínez #AlfredoRamosMartinez #MexicanArt #CrystalBridgesMuseum #artwork #fineart

"Florida Mexicana" depicts a young Indigenous Mexican woman offering a large bowl of vibrant colorful flowers. Mexican artist Alfredo Ramos Martínez balances sculptural form with a focus on pattern and color to create an image that is at once modern and retrospective. Despite being painted in 1936, at the height of the Great Depression, Ramos Martínez provides an idyllic scene of bountiful nature. The woman becomes an allegorical symbol of spring, new life, and hope.

The woman is the central figure, positioned slightly off-center, facing forward, and her gaze directed slightly away from us. Her expression is neutral, neither joyful nor sad, but rather serene. She wears a reddish-orange dress. Her skin tone is a beautiful deep brown with her face and hands rendered with a noticeable boldness. The flowers in the basket are painted with visible brushstrokes, displaying the artist's style using colors from yellows, oranges, pinks, and purples, creating a vibrancy that contrasts with the background.

The background of rolling hills of fields are a variety of tones, from light yellows and oranges to deep browns, which gives a sense of depth to the artwork. Gray and blue mountains in the distance create a sense of depth and space. The overall mood is tranquil and inviting ... as if the basket of flowers are being presented directly to us.

Florida Mexicana was painted after Martínez immigrated to California. His style draws on inspirations from Mesoamerican art and his knowledge of turn-of-the-twentieth-century French painting, like that of Paul Gauguin, which he gained through studies in Paris.

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Michael

@mdstamper.bsky.social

12 months ago

“Mujer en Rosa (Woman in Pink)” by Cordelia Urueta (Mexican) – Oil on canvas / c. 1930s–1940s – Museo de Arte Moderno (Mexico City) #WomenInArt #BlueskyArt #MAM #MuseodeArteModerno #CordeliaUrueta #Urueta #art #artText #artwork #pink #MexicanArt #MexicanArtist #WomensArt #WomanArtist #WomenArtists

Painter Cordelia Urueta Sierra forged a path within Mexican modernism that placed mood and interior life over grand narrative. In “Mujer en Rosa,” a woman sits with eyes closed, head slightly bowed. Her skin is a warm medium-tan modeled by soft shadows and her black hair is covered by a rose-pink veil that falls behind her shoulders. She wears a pale blush dress with short sleeves and a deep V-neck, its fabric gently wrinkling across the bodice. Her forearms rest close to the torso. The background is a shallow, interior space of browns and ochres with a window to the right. Edges are clean, volumes weighty, and light is calm and even, giving the face and clasped posture a quiet, contemplative presence.

While many artists of her generation oriented their work toward public epics, Urueta looked closely at the human figure, building form from restrained color and sculptural light. “Mujer en Rosa” stands at that crossroads: the geometry of the shoulders and jaw, the poised triangle of the veil, and the planar background recall post-Cubist classicism, yet nothing feels diagrammatic. Pink is not decoration but tender temperature without sentimentality to hold the woman in a moment of reflection or prayer. This is an image of composure, self-containment, and dignity, rather than spectacle.

Urueta’s career would gradually move toward looser atmospheres and bolder color fields, but her constant was attention to the psychological weight of form. Here, the measured volumes grant the figure agency: no props, no narrative clutter, only a person occupying space with quiet authority. The window exists, yet the light reveals more than it explains, allowing us to project our own story of devotion, rest, or inward thought. In a milieu where women artists often struggled for visibility, Urueta’s disciplined stillness reads as a subtle assertion of self. “Mujer en Rosa” distills her ethos: serenity as strength, color as emotion made visible, and form as a vessel for an inner world.

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Animal Aspects (Art History Animalia)

@animal-aspects.bsky.social

about 1 year ago

Tonalá ware #skunk figure Made in Tonalá, Jalisco, Mexico, mid-20th c. glazed / painted ceramic H x W x L 18.5 x 9 x 26 cm (7 5/16 x 3 9/16 x 10 1/4 in.) Spencer Museum of Art 2016.0220 spencerart.ku.edu/art/col…. #MexicanArt