Participate nuances of the student movement in support of university autonomy in the abortive reform ENBA (Escuela Nacional de Bellas Artes). Encargde In 1930 the founding of an art school in Taxco, Guerrero, and that same year pintcon Villaseor Isabel, a mural on the facade of Ayotla School, where for the first time in the history of Mexican painting rehearse colored cement. His first solo show takes place in 1932 in the Art Gallery of the Secretariat of Public education, in turn stepped in a school for women and started drawing in elementary schools teach the Secretariat to the education. In 1935, integrates the Cultural Missions, where his fellow missionaries luchcon to achieve unity of the teachers in the country, and a year later, aware of social movements and as a member of a generation No committed to its environment, Alfredo Zalce, David Alfaro Siqueiros pertenecijunto, Octavio Paz, Diego Rivera, Frida Kahlo, Leopoldo Mendez, Pablo O'Higgins, Fernando Gamboa, and many more artists, the League of Revolutionary Writers and Artists (LEAR). In 1937 Workshop unial Grafica Popular hese had just founded, and involving all its works, exhibitions and publishing to its separation by different theorists in 1947. In 1949 fundun plastic arts workshop in Uruapan, Michoacan. A year later asumila direction of the Escuela Popular de Bellas Artes de Morelia, sponsored by the Universidad Michoacana de San Nicols de Hidalgo. Of all those who participated in the cross cultural, Zalce is of the very few who assimilated a missionary spirit of art since quedprendido the obligation, a responsibility to project themselves into the new generations away from the centers radiating and cutting edge. If the revolution bean given to artists who fought it a true picture of the traditions and landscape national cultural missions leaders gave their awareness of the needs of a people aspiring to gain a basic human dignity. To this must surely poses no humanism, humanism entraable of artists such as Alfredo Zalce, Leopoldo Mendez, Angel Bracho, Pablo O'Higgins. Missionaries were consistent with his office, the task of cultural diffusion always made it engravers, artists, painters, and were leaving in all the places where they spent testimony of his creative impulse. Wherever he was, Alfredo Zalce has left a trail of colors in his paintings and murals, drawings, sculptures, teachings and contributions Grficas and La Voz de Mexico, heir of El Machete, which participated without being an active member of the Mexican Communist Party, but smilitante of the causes of his people felt more inspiration and Work Considered the last of the representatives of the Mexican School of Painting along with Diego Rivera, JosClemente Orozco, David Alfaro Siqueiros, Rufino Tamayo, Leopoldo Mendez, Pablo O'Higgins and others. Zalce is a cartoonist, painter, sculptor, engraver and writer, not versatility of genius but that seems inherited conviction of former artfices Tarasco excel in their sense of unity. One sees in their work, if my work estbien all estbien. Social and artistic life has been depleted. In decan polmicas before things are important, but now things are said and inconsequential personal. Only the Yo Yo. Limited by what? The problems are the same for an artist aquo in the capital. Aquhice recorded for the people of Guatemala in the fifties and then to Haiti, Cuba, Nicaragua ... Morelia is also the acting aqusigue PASY youth. You can only create in solitude, because then it is a dialogue between you and the canvas or board. It is important to get out, talk and live together, because asse exchange ideas, but when it comes to work one should be alone. "The art produced with much effort and time-consuming, it will slowly forget, but the works produced quickly going to forget quickly." In the forties the City Comenza grow, erected buildings everywhere but the appearance of progress only accentuated the misery. So I live by the direction of San Cosme and I remember one night back home, find a man looking for something qucomer between the bean bags of trash in a corner, and beside her dog also the rubbish and the man tried to frighten qutate of aquperro because I have to find food for my entire family and you can eat anywhere ... That image ... I impresiontanto that incorporates an engraving made in 1947 and is called Mexico becomes a city. Exalted disorder of the jungle, the mystery of the cenotes abandoned all that picturesque country of the far optical, are to the artist as a pretext to deepen spiritual landscapes no less complex and mysterious. Jean Charlot In his lithographs the second quivale to find a vein of water in the arid desert. Xavier Villaurrutia, 1931. Recorded in a size has nothing to do, but it's nice to see a large engraving. Not previously recorded Hacan great because almost everyone was related to books. The independently recorded as I started the last century. Before it was for the function of a book, nothing more, but AFTER the ToMV recorded separately and as an object to hang. The art is not measured by the meter, but is a quality make large prints because all problems are multiplied in a work A good quality painting and a great simplicity, without affectation is what solved estbien results ., namely that there is nothing to disturb that estmal compound, the composition est lame. Finally, a number of defects that can have and there ningn aquno default. I see and I like it because estmuy well resolved, well composed, with simplicity. The work is very nice spatula. I also have worked with spatula because it gives a very different thing to the brush, so one sometimes prefers. And besides, in the past painters were stained with spatula and ended with a brush, and Goya. Goya made many paintings that became known aslos HACA, stained with spatula, and then was finished with brush finish. The spatula is a different tool to the brush, that's all. The brushes themselves ... painted with a thick bristle brush gives a thing to paint this with a fine brush ms da msy takes something else. Has nothing to do, the spatula is a tool like any another.