{"id":2377,"date":"2018-11-25T21:49:21","date_gmt":"2018-11-25T21:49:21","guid":{"rendered":"https:\/\/fundacionricardomartinez.net\/en-us\/?page_id=2377"},"modified":"2019-03-27T21:07:29","modified_gmt":"2019-03-27T21:07:29","slug":"resena-vinetas","status":"publish","type":"page","link":"https:\/\/fundacionricardomartinez.net\/en-us\/resena-vinetas\/","title":{"rendered":"Rese\u00f1a – Vi\u00f1etas"},"content":{"rendered":"

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Review<\/h1>\n<\/div>\n\n
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Ricardo Mart\u00ednez. Vignettes <\/i> 1945 \u2013 1959<\/h2>\n<\/div>\n<\/div><\/div><\/div><\/div><\/section>
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Zarina Martinez
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The vignettes by Ricardo Mart\u00ednez from 1945 to 1959 are closely related to the publishing endeavours of close friends, among others Joaqu\u00edn D\u00edez-Canedo, Francisco Giner de los R\u00edos, Al\u00ed Chumacero, Henrique Gonz\u00e1lez-Casanova and Juan Jos\u00e9 Arreola. Through their almost \u201chome made\u201d publications, these writers and publishers made an important contribution towards the diffusion of Mexican literature of the time. <\/p>\n

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The Ricardo Mart\u00ednez Foundation has original issues of the publications Ricardo Mart\u00ednez contributed to during those years. It already is possible to trace in them the simple lines that would define his later work, while at the same time more elaborated and even surrealist and abstract motives are to be found.<\/p>\n

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Some of these vignettes, such as the ones made for the Nueva Revista de Filolog\u00eda Hisp\u00e1nica<\/em> of El Colegio de M\u00e9xico in 1947 and for the first edition of Pedro P\u00e1ramo<\/em> in 1955 became emblematic and are used even now. The cactus on the cover of the first number of the Revista<\/em> is its logo and the three original vignettes appeared in the facsimile edition of Pedro P\u00e1ramo<\/em> published by Fondo de Cultura in 1996.<\/p>\n

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Among the publications with vignettes in the archives at the Ricardo Mart\u00ednez Foundation, are the earliest ones from 1945. Ricardo Mart\u00ednez illustrated the collection of poetry Epigramas americanos<\/em> by Enrique D\u00edez-Canedo, published by his son Joaqu\u00edn and already under the Joaqu\u00edn Mortiz editorial seal.<\/p>\n

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In their student days, Joaqu\u00edn D\u00edez-Canedo and Francisco Giner de los R\u00edos started the literary magazine Floresta de prosa y verso<\/em>, which first appeared in Spain in 1936 but unfortunately only a few issues were published due to the Spanish Civil War. When D\u00edez-Canedo and Giner de los R\u00edos came to Mexico they started the magazine anew, this time under the title Nueva Floresta<\/em>, published by Editorial Stylo. For this new venture, Ricardo Mart\u00ednez illustrated Segundo despertar y otros poemas<\/em>, by Enrique Gonz\u00e1lez Mart\u00ednez. The vignette of a seashell illustrating El contemplado (mar, poema)<\/em> by Pedro Salinas, can be attributed to Ricardo Mart\u00ednez, given the style and his close relationship with the editors.<\/p>\n

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In 1946 Ricardo Mart\u00ednez illustrated the cover of Sleep and poetry<\/em> by John Keats for Editorial Espiga. The vignette is a reminder of Ricardo Mart\u00ednez\u2019s incursion into surrealism in the early 40s and is particularly well suited to the title, with a dream-like landscape and a pentagram in the foreground.<\/p>\n

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The only vignette recorded for 1947 is the cactus on the cover of the Revista Hispanoamericana de Filolog\u00eda<\/em> already mentioned.<\/p>\n

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In 1949 El Colegio Nacional published Junta de sombras<\/em>, by Alfonso Reyes. This is an interesting publication regarding the illustrations, which are to be found, not on the cover as might be expected, but at the beginning of each chapter and at the top of the table of contents. The vignettes correspond to the Hellenic subject of Reyes\u2019s work: 28 simple illustrations depicting landscapes, ruins, animals, men and women with classic features, some of them wearing laurel wreaths, hands and some unexpected drawings of geometric shapes, unusual in the work of Ricardo Mart\u00ednez.<\/p>\n

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Another vignette from 1949 is the one made to illustrate Libertad bajo palabra<\/em> by Octavio Paz (Colecci\u00f3n Tezontle, Fondo de Cultura Econ\u00f3mica). The editors in charge were Francisco Giner de los R\u00edos and Joaqu\u00edn D\u00edez-Canedo. This is apparently the first illustration Ricardo Mart\u00ednez made for the collection.<\/p>\n

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Nineteen fifty would be an important year for Ricardo Mart\u00ednez as an illustrator. It was then that Juan Jos\u00e9 Arreola and other writer friends started publishing \u201cLos Presentes\u201d, \u201cAn enterprise by friends to publish works by friends\u201d (Mata, 2000), to which Ricardo Mart\u00ednez contributed from its beginning until 1954.<\/p>\n

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\u201cLos Presentes\u201d had two epochs, from 1950 to 1953 and from 1954 to 1964. Juan Jos\u00e9 Arreola was in charge of the second epoch until 1957. Ricardo Mart\u00ednez illustrated six titles of the first series and three of the second, all of them in 1954. There is no record of why Mart\u00ednez did not contribute after that.<\/p>\n

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The illustrations of the first series are as follows:<\/p>\n

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Stories<\/em>, by Juan Jos\u00e9 Arreola, 1950. An orchard in simple lines.<\/p>\n

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The return<\/em>, by Ernesto Mej\u00eda S\u00e1nchez, 1950. A pair of hands holding a book.<\/p>\n

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Sonnets<\/em>, by Carlos Pellicer, 1950. Two bare trees.<\/p>\n

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Poetics, by Rub\u00e9n Bonifaz Nu\u00f1o, 1951. A bare tree and a bush.<\/em><\/p>\n

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The younger brother<\/em>, by Jaime Garc\u00eda Terr\u00e9s, 1952. A pair of hands holding a piece of fruit.<\/p>\n

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Stories<\/em>, by Augusto Monterroso, 1953. A detailed image of a butterfly on a leaf.<\/p>\n

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Second series:<\/p>\n

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Mexican tales<\/em>, by \u00c1ngel Bassols Batalla, 1954. An ancient knife, probably in obsidian, with a handle in the shape of an eagle soldier.<\/p>\n

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The masked days<\/em>, by Carlos Fuentes, 1954. Drawing of a man dressed in a suit sitting on a chac-mool, both of them smiling. The drawing fits well with the title \u201cChac mool\u201d of the first story in the collection.<\/p>\n

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Parentalia<\/em>, by Alfonso Reyes, 1954. A quince tree, probably one of the two in the artist\u2019s house.<\/p>\n

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Another vignette from 1950 is the one on the cover of Diario hist\u00f3rico de los viages de mar, y tierra hechos al norte de la California<\/em>, written by Miguel Constans\u00f3 in 1770 and published by Edici\u00f3n Chimalistac, which shows a small bird singing on a branch.<\/p>\n

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In 1951 Ricardo Mart\u00ednez illustrated A Enrique Gonz\u00e1lez Mart\u00ednez en sus ochenta a\u00f1os<\/em>, published by Fondo de Cultura Econ\u00f3mica under the supervision of Al\u00ed Chumacero and Joaqu\u00edn D\u00edez-Canedo.<\/p>\n

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From 1952 the Foundation has recorded the following works:<\/p>\n

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The cover of El coronel que asesin\u00f3 un palomo y otros cuentos<\/em> by Jorge Ferretis (Colecci\u00f3n Tezontle) shows a yuca palm. Although its author is not recorded, from the style and subject of the drawing, as well as the fact that Francisco Giner de los R\u00edos, Joaqu\u00edn D\u00edez-Canedo and Al\u00ed Chumacero were the editors responsible, it is likely that the vignette is by Ricardo Mart\u00ednez.<\/p>\n

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El Nuevo Narciso and other Poems<\/em> by Enrique Gonz\u00e1lez Mart\u00ednez (Letras Mexicanas, no. 3) is illustrated with a vignette of a tree.<\/p>\n

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The last vignettes form 1952 in the archives of the Foundation are the ones Ricardo Mart\u00ednez made to illustrate Jos\u00e9 Gorostiza\u2019s Muerte sin fin<\/em>, published by the University Press. There is a vignette on the cover and ten more throughout the poem.<\/p>\n

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The most outstanding vignettes from 1953 are those for Jornada hecha poes\u00eda: 1934-1952<\/em> by Francisco Giner de los R\u00edos (Tezontle, Fondo de Cultura Econ\u00f3mica) and Sentido de la presencia<\/em>, by Ram\u00f3n Xirau. The image on the cover of Giner de los R\u00edos is a yuca reflected on a pond in what appear to be more elaborate strokes and the mirror image slightly deformed. The illustration in Xirau\u2019s work, a rose, has no credit, but compared to other works by Ricardo Mart\u00ednez it could be attributed to him.<\/p>\n

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In 1954 Tezontle published Fronteras<\/em>, by Jaime Torres Bodet. The vignette on the cover, without signature but attributed to Ricardo Mart\u00ednez, is an image of a fallen tree. Al\u00ed Chumacero was responsible for the edition.<\/p>\n

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The Ricardo Mart\u00ednez Foundation has registered these vignettes from 1955:\u00a0 the first one on El hero\u00edsmo intelectual<\/em> by Jos\u00e9 Antonio Puortondo (Tezontle, Fondo de Cultura Econ\u00f3mica).<\/p>\n

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The second and most important is the series made for the first edition of Pedro P\u00e1ramo<\/em> by Juan Rulfo (Letras Mexicanas, no. 19): one on the cover portraying two figures embracing with a maguey in the background, one at the beginning of the novel, with a muleteer following his oxen and one at the end, with two ferocious looking dogs barking.<\/p>\n

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The same year Ricardo Mart\u00ednez illustrated Distancia sin timidez. Romancero del golf<\/em>, by Pr\u00e1xedes Reina Hermosillo (Tezontle).<\/p>\n

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In 1956, Ricardo Mart\u00ednez illustrated covers for new titles published by Fondo de Cultura Econ\u00f3mica:<\/p>\n

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Los demonios, by Rub\u00e9n Bonifaz Nu\u00f1o (Tezontle), Palabras en reposo, by Al\u00ed Chumacero (Letras Mexicanas, n. 23); Las provincias del alma, by Jaime Garc\u00eda Terr\u00e9s (Letras Mexicanas no. 30) and Pr\u00e1ctica de vuelo, by Carlos Pellicer.<\/p>\n

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The cover of Los demonios<\/em> shows three dogs fighting. A serpent on a tree is on the cover Palabras en reposo<\/em>, and a pair of hands on the cover of Las provincias del alma<\/em>. The cover on Pellicer\u2019s book shows some mandolins. Although the author is not recorded, Carlos Pellicer, the poet\u2019s nephew, confirmed that it is by Ricardo Mart\u00ednez.<\/p>\n

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In 1958 Ricardo Mart\u00ednez illustrated Poemas mexicanos<\/em> by Francisco Giner de los R\u00edos with 37 vignettes. The collection was published by UNAM and the vignette on the cover represents two trees.<\/p>\n

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Another illustration from that year is the one for Una luz en la otra orilla<\/em>, by Mar\u00eda Lombardo de Caso (Letras Mexicanas, no. 47). It shows the silhouette of a man wearing a hat and poncho and riding at full gallop.<\/p>\n

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The vignettes discussed in this essay show that there was a close relationship between the publishing houses, the writers and the artist. Ricardo Mart\u00ednez would continue illustrating books with vignettes, but in later years his contribution would be reproductions of oil paintings<\/p>\n

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References<\/strong><\/p>\n

Mata, \u00d3scar, \u201cLos Presentes, del maestro editor Juan Jos\u00e9 Arreola\u201d, UAM-Xochimilco. Recuperado en febrero de 2014, de: http:\/\/www.revistas.unam.mx\/index.php\/rlm\/article\/view\/28520<\/p>\n

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