This thesis explores how the Mexican painter María Izquierdo used the medium of painting to create an original and disruptive visual iconography that allows for the renegotiation of gender identity during the decades following the 1910 Mexican Revolution and civil war. At the center of her images is the female figure. These figures range from women contorted, tortured and bound in settings bereft of sustenance, mothers nurturing their children, women starving in desolate landscapes, to monumental figures at work. One of my main points of interest is how her visual vocabulary resisted the muralist's dominant visual paradigm and their treatment of the female form as an object of male supremacy under the umbrella of nationalist fervor. The result is a body of work that offers an alternative to the political ideologies at play, as well as addressing the complexities of gender identity and nationalism at this time in Mexico.
|School:||California State University, Long Beach|
|School Location:||United States -- California|
|Source:||MAI 48/04M, Masters Abstracts International|
|Subjects:||Latin American history, Art history, Womens studies|
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