Rodolfo Morales

His style is influenced by María Izquierdo (1902-1955) and French painter Marc Chagall (1887-1985).

Women and memories appear to be at the heart of his work.

Morales once explained, “Mexico would be lost without the steadfast work of women.

Rodolfo Morales (May 8, 1925 – January 30, 2001) was a Mexican painter, who incorporated elements of magic realism into his work.

Morales is best known for his brightly colored surrealistic dream-like canvases and collages often featuring Mexican women in village settings.

He was notable for his restoration of historic buildings in Ocotlán de Morelos and, together with Rufino Tamayo and Francisco Toledo, helped make Oaxaca in Southern Mexico a centre for contemporary art and tourism.

From 1948 to 1953 he studied art at the Academy of San Carlos in Mexico City.

He graduated as a drawing teacher and began a 32-year career as an art teacher at Escuela Nacional Preparatoria, a position he held from 1953 until 1985.

In 1965 while organizing a Christmas party at the home of a sculptor friend, Geles Cabrera, he used collages as decorations.

She liked his works and suggested a trade: a piece of sculpture for a painting.

This recognition stimulated Morales to focus all his efforts on painting and, to make extra money, he organized exhibitions of his work in small galleries around the capital.

In 1975 with Morales approaching 50, he was persuaded by Cabrera to hold his first mainstream solo exhibition at the Casa de las Campanas Art Gallery in Cuernavaca.

Here his paintings came to the attention of famous Mexican painter Rufino Tamayo.

Tamayo helped Morales make contacts with art critics and galleries around the world, leading to a number of joint and solo exhibitions.

By 1985, Morales had earned enough money to stop teaching and to return to Oaxaca where he was able to dedicate himself to both his art and to restoration.

Using income from his art he founded the Rodolfo Morales Cultural Foundation devoted to restoration of buildings in his hometown of Ocotlán.

They bear the burden of day-to-day living and find solutions to those problems to which men simply resign themselves.” In a 1995 interview Morales explained, "I came here to live in my memories. . . Nostalgia and melancholy are very important to me."

Despite this, Morales avoided discussing the “meaning” of his work, often producing works without title.

Characteristics of his work include rich use of colour, exaggerated hands and feet, over-sized faces, women (often brides), puppies, flowers, angels, bicycles, musical instruments and the dreamy floating of figures.

Whilst the bulk of his work was oil on canvas he also produced a number of murals, highly decorated pieces of wooden furniture and characteristic cardboard pillars which, when arranged together, create a changing kaleidoscope of image and colour as the viewer walks around them.

Added to this were his many collages, some sold as fund raisers but others, often in a set and in greater detail, arranged to tell a story.

In 1998 the Children’s Book Press published Angel’s Kite illustrated by Morales in the form of collage.

The work of the Rodolfo Morales Foundation continues today attempting to preserve the heritage of Oaxaca and fostering the arts.

The Spring Festival in Oaxaca was renamed the Spring Festival Rodolfo Morales in his honour following his death.

Up until his death in 2001, both he and Toledo had been regarded as Mexico’s greatest living artists for over a decade.

A Zapotec Native American, born to working class parents in the small town of Ocotlán de Morelos, Morales was an often solitary child who found comfort in drawing.

He died on January 30, 2001, at the age of 75 in Oaxaca from pancreatic cancer.

His remains were placed in his restored Convent of Santo Domingo, in Ocotlán, Oaxaca.

Morales’ work has been described as dream-like, fertile and heavily based in folklore.

It often depicts indigenous people, especially women set amongst rural buildings, churches, town squares and arcaded shops.

In all, he funded the restoration of fifteen churches including the 16th century Convent of Santo Domingo and a 17th-century church in the town of Santa Ana Zegache, as well creating cultural spaces throughout Oaxaca's central valleys.

His most important restoration project was the former convent of Ocotlan which was converted into a municipal complex.

Morales ensured that much of the restoration work done was by local women who, by developing skills, were able to later find employment elsewhere.

His other notable Foundation work included setting up a computer room for local youths to learn information technology skills, providing materials to aspiring artists, producing of prints to help Frente Común Contra SIDA educate against the spread of AIDS and planting new copal trees not only to enhance the landscape but also to provide wood for the creation of hand-painted animals.

Whilst continuing with his art, he would begin each day by making a small collage which he would sell to raise money for his Foundation.