Rina Lazo and her murals. Between loss and rescue and the cultural memory of the people of Mexico.

Abstract

This article exposes the vicissitudes that accompanied several of the painter Rina Lazo's murals: The Four Elements, México, D.F.; Fertile Land, Italian Club of Guatemala, 1954; the mural in the Ejidal Cooperative Society of Atencingo Puebla (in collaboration with her husband, Arturo García Bustos); Glorious Victory (with a fragment painted and signed by Lazo in Rivera's mural), Pushkin Museum, Moscow, 1954; We will conquer, 1959, Museum of Fine Arts of Toluca, State of Mexico; a cardboard with the theme of astronomy, projected in real scale for a mural that was not made, for the planetarium of Cancún, Quintana Roo. At the end of the article, we refer to the mural Xibalbá, the underworld of the Mayans, installed on the second floor of the Museum of the Palace of Fine Arts. The realization, and in some cases, disappearance or non-realization, are understood in the different political and social contexts in which they were executed by the muralist, always consistent with her aesthetic and political principles, as an artist who belonged to the Mexican School.