The Critic

The Porfiriato era in Mexico was characterised by a relatively peaceful period which was followed by a violent upheaval, but this revolt was not an overnight development. In the broader spectrum, economic hardships, social stratification and political instability indicate that its undercurrents were present, ever since Porfirio Diaz's takeover (then Mexican president, who established a virtual dictatorship over the nation). Prints, unlike expensive oil paintings or stationary public murals became an invaluable tool to evoke the rebellious sentiments fostering among the masses. They were cheap, fast to produce and were easily distributed as posters and flyers on the streets, which made the creation of a collective awareness, an achievable initiative. In spite of prevailing illiteracy, powerful visual imagery allowed artists to convey political messages, news and social warnings directly to everyday workers and peasants. Due to these factors, graphic artists and printmakers emerged prominently in Mexico in the late 19th century followed by the early decades of the 20th century. Julio Ruelas is one such printmaker, painter and graphic artist who transformed symbolism into a powerful instrument in order to hint at certain narratives and messages. Following the footsteps of senior contemporary printmaker, Jose Guadalupe Posada, Julio made a name for himself as an influential illustrator and printmaker of the 19th century Mexico. Rather than dealing with the dominant nationalist and historical themes that were commonly seen in the visual culture of the time, he engaged in the exploration of unobserved and neglected aspects of humanity; death, melancholy, temptation, spirituality, eroticism and inner conflict. Ruelas, after completing his formal training at the San Carlos Academy in Mexico City, travelled to Germany to continue his studies at the Academy of Fine Arts in Karlsruhe. His time in Europe proved to be quite significant, as he was exposed to the works of artists who incorporated semiological frameworks in their artworks, such as Arnold Bocklin, Max Klinger and Franz von Stuck. This influence impacted his practice to a great extent, while he also absorbed elements from German romanticism as well. "The Critic" is an etching and self-portrait of Julio that depicts his profile with a winged creature perching on his head. The grotesque looking creature wears a gentleman's hat, while its elongated nose, resembling a fountain pen appears to be inserted in, or touching the forehead of the artist. Scholars specialising in literature identify the imagery, with the world of literary criticism. One of the interpretations suggests that Julio represents the psychological burden borne by artists whose efforts are incessantly subjected to public judgement. The physiognomy of Julio showcases an outwardly calm demeanour, which, along with the restrained background adds to the psychological drama being insinuated by the combination of his serene expression alongside the presence of the morbid creature on his head, that is part bat and part insect. The work showcases and indicates the increasing modernist tendency to go beyond the visible reality and delve into abstract psychological experience through symbolism, which later becomes the foundational precursor to conceptualization. Ruelas met an early demise after contracting tuberculosis in 1907, leaving behind an extraordinary body of prints and illustrations that profoundly influenced later generations of Mexican artists.