Emilio Amero...

I wrote a little discussion of one of the works of Emilio Amero which resides in the Fred Jones Jr. Museum of Art on the OU campus. Amero is not one of the most famous Mexican artists, but he was involved very early on his career with artists such as Zalce, Diego Rivera, Orozco, etc. In fact Amero was one of the first muralists to be commissioned by Vasconcelos and the post-revolutionary government. One of his great passions (and skills) was lithography, and he often held workshops that were attended by most of the Mexican artists you have heard of. His website has even more info on his work and his ties to the University of Oklahoma, where he established a print studio... It is nice to be able to visit the works of someone like Amero on your own campus. I also really like this picture of him. Sorry that I do not have a picture of the piece, they do not like you take pictures in the museum and I cannot find a reproduction online... You will just have to go visit this piece yourself.

Anywho, here is what I wrote about The Game, one of the Amero pieces we have in our museum. I also understand that Dr. Phelan, dean of the OU School of Art is currently doing a research project focused on Amero's work. Here goes:

The Game is Cool.

The Game, a powerful work by Emilio Amero (1901-1976), is a somber piece that draws in the viewer. Emilio Amero is a talented artist who worked in many mediums, but primarily created easel works. Born in Ixlahuana, Amero later moved to Mexico City and attended the San Carlos Academy. The works of Amero exhibited at the Fred Jones Jr. Museum of Art are fascinating pieces. The Game is a large work, approximately 4 feet high by 5 feet wide. Amero created the work from egg tempera on panel in 1955. The work features several female figures, all abstracted, conceptual nudes.

In my estimation, the singularly most striking feature of the figures in The Game is their hollow eyes and solemn expression. The eyes are what immediately draw one’s attention and invite sustained viewing. Also featured in the composition is a background brick wall at a corner-angle, and the ground is covered in a rubble-gravel type material. The simulated texture of the ground cover and the brick is nearly exact.

Another captivating aspect of The Game is the color. The composition is comprised almost entirely of reds, oranges and dark yellows. The warm colors draw in the viewer and set an emotional mood that echoes the expression of the figures. The figures and background all have a substantial mass and seem solid in their position. Even the female figures who are full of movement seem to be solid, weighty women.

The work is full of vertical lines, many of which curve with the movement of the women and accentuate the female form present. The overlapping bodies in the foreground have a rounded, feminine shape and a distinct vertical line. The brick wall in the background is a massive structure with a decidedly vertical feel, extending beyond the composition at top. The wall is done with a linear perspective and acts as a solid anchor to the movement and activity of the figures in the foreground. Each female figure has her head slightly askew, adding the overall vertical line with a noticeable diagonal tilt.

I was immediately drawn to Amero's work at the Museum. All of his works feature figures with similar hollow eyes. This work, being the largest in size and scale, was even more spectacular in its emotion. I found the eyes and expression of the figures to be quite captivating. The line of the piece gives it an emotion and movement that is mesmerizing. I am intrigued by the title, and the fact that there seems to be a magical object held by the seated figure, who somehow appears in charge of this “game.” I wish there was more information on this work in the gallery catalog or online, I am interested in hearing what others have to add to this discussion.