II.2.4 DIGITAL ARCHIVE 832146
(1) FOR SURE…! THE AMERICAN ARTIST is bound to exalt the classical traits of indigenous art. That is how Mexico and Peru are interpreting the secret of our Sphinx and escaping the vile servitude to Europe. If art continues to be human (with the permission of [the Spanish philosopher] Mr. [José] Ortega y Gasset, who temporarily believed the opposite), it must be inspired obviously by the familiar landscape and the meager or prodigal product of mother earth. To distance oneself from the American concern in artistic production is equivalent to losing one’s citizenship. . . . If Diego Rivera’s basic theme in his work were the asphalt of Paris, instead of the streets of Mexico, he would be a painter gone astray. And it is time for the American artist to face the dilemma: either to vilely copy Europe in his work,—[like an] unconscious ape in a frock coat, giving the painful impression of unconditional submission to its dictator—or decide to be a liberator, to be plain, to be free.
(2) The Americanness of a painting, of a song, or of a poem, must at the same time be a matter of optics, of content, as well as a vehicle. Americanness exists in each of the three variants of the whole; but a product will be truly American if it contains all three qualities . . . . The American work must catch the eye, move the heart, and serve as propaganda.
(3) Foreign character, of course not, but American character, yes. Between Mexican and Bolivian painting, for example, there is a distance in the manner of expression, but basically they are both “American” originals. The production of the continent may present expressive variables which depend on the varied expressions of each people, but nobody could erase the generalized impression of [the Americas] having its own shading, its own original coloring. Lacking, at present, a more expressive definition, let us call it the “American imprint.” This [shared] mark still allows for exterior differences; just as in a family one recognizes several siblings of different sizes and opposing tastes. The legendary heroes [who preceded the Spanish Conquest] prove it: [the Incan ruler] Manco Cápac, [the Mapuche military leader] Caupolicán, [the pre-Columbian Aztec leader] Netzahualcóyotl, and Nicarao, [the namesake of the area that would become known as Nicaragua], are dissimilar because of their differing language and customs, but who would dare assert that their souls were different?
(4) It [should be with] the same attitude that the nationalist Chinese [approach] Europe: [like them, we should] assimilate [European] strength, adapt their energy, exploit their discoveries, do everything to benefit American art. The energizing of this art will be achieved through the process of assimilation, thus achieving, if possible, transfusion itself. Cubism, surrealism, expressionism, all European innovations, have a place within genuinely American art, since they do not challenge its roots. It is necessary for the two personalities to face each other, both well planted on their feet: the personality of Europe, the personality of America. There being no political dependency, why should intellectual dependency prevail? In artistic matters and with regard to Europe, let us be the Chinese of the West [Western hemisphere].