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Many Mexican painters wallowed in the world of reverie and all the possible dreamy associations. Inclined to show the vein of the imaginary, their proposals have been mainly explained under the aegis of Surrealism, forgetting that the collective unconscious of the people is an inexhaustible source of fantasy. Certainly the concerns of Breton and Artaud were well discussed, as much as the visuals models of artists like Delvaux, Magritte and Dalí; painters who, like the Mexicans, preferred the figurative path as a means of Expression. Surrealism was known in theory and in practice, in poetry and in the plastic arts, and artists like Agustín Lazo and Roberto Montenegro lived it directly in their years in contact with the avant-garde. Thus the transposition of a dream to modern Mexican painting cannot always be associated with the interpretative ideas of Freud, on the contrary a good part is inspired by the fascination produced by the unknown, the illogical and the unreal in the thoughts of contemporary man. The creative vision of Juan Soriano in Cuatro esquinitas tiene mi cama, seems to answer to this spell of daily magic, as the title comes from folk wisdom, and invites one to reflect on life and death and the in between.Cf. Ida Rodriguez Prampolini. El surrealismo y el arte fantástico de México (Surrealism and the fantasy art of Mexico). Mexico, Universidad Nacional Autónoma de México, 1969.

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