INTRODUCTORY PANEL

Museo Kaluz proudly presents El triunfo de la espiga (The Triumph of the Wheat Spike), a commemorative exhibition marking the 85th anniversary of the Spanish exile in Mexico.

The exhibition is divided into three thematic sections, each reflecting a pivotal moment in this historical journey: the exodus and captivity in France following the Spanish Civil War, the period of nostalgia for the lost homeland, and the eventual adaptation to life on Mexican soil.

The exhibition's title, The Triumph of the Wheat Spike, is inspired by a verse from the poem Yo te puedo poblar, soledad mía (I Can Populate You, My Solitude) by Pedro Garfias, featured in his collection Primavera en Eaton Hastings (1939). This poem celebrates the creative resilience to generate life amid the adversity of defeat—symbolized by the triumph of the wheat spike.

This evocative image captures the desolation of loss, the exodus, and the tears—echoing the words of León Felipe—but above all, it recognizes the rich and enduring legacy of the men and women who found a new home in Mexico, fulfilled their destinies, and redefined exile as a triumph.

EXODUS AND IMPRISONMENT

The Spanish Republican exile refers to the citizens who, during and after the Spanish Civil War (1936–1939), were forced to abandon their homeland and move to other countries, Mexico being chief among them.

The initial escape route led across the French border. This exodus began during the war and reached its peak between February 5th and 13th, 1939, after the Republican defeat. Nearly 600,000 Spaniards, burdened by the profound pain of loss, found themselves confined to concentration camps in southern France under truly inhumane conditions.

Two of the most infamous camps, Argelès-sur-Mer and Agde, provide the backdrop for the experiences depicted by the artists featured in this exhibition. Their works capture moments ranging from the final clashes with the Civil Guard on Spanish soil to the treacherous journey overseas, as well as the harsh daily realities of life in the camps.

This section highlights works by prominent artists such as Antonio Rodríguez Luna, Francisco Moreno Capdevila, and Gerardo Lizarraga, along with the lesser-known Francisco Marco Chilet. His pieces, notable for their artistic and documentary value, follow this historical narrative, offering a unique and poignant perspective on these events.

THE ANCIENT VOICE OF THE LAND

The Ancient Voice of the Land is a concept coined by poet León Felipe in one of his iconic verses dedicated to the Spanish exile. It encompasses creations made in Spain before the Civil War, during the exodus, and in Mexico, all imbued with tradition and nostalgia.

This expression evokes an enduring image of Spain, preserved in both reality and memory, as reflected in this diverse collection of works exploring a variety of themes and sentiments. Notable pieces include a Symbolist self-portrait by Roberto Fernández Balbuena, a mural sketch depicting the history of Basque pelota by Gerardo Lizarraga, a traditional maja with a carnation by José Bardasano, a vibrant gypsy scene by Francisco Camps Ribera, a portrait by Cristóbal Ruiz, and a charming Galician interior by Arturo Souto.

OPEN SUITCASES: LIFE IN MEXICO

Upon settling in Mexico, many artists began incorporating local themes into their work. As the prospect of returning to Spain grew increasingly distant, their art became deeply intertwined with Mexican motifs and the life they built in their adopted country.

These artists found inspiration in Mexican people—particularly indigenous communities—as well as its natural and urban landscapes. This influence is evident in works by José Bardasano, Juan Eugenio Mingorance, Francisco Camps Ribera, Aurelio Arteta, Mary Martín, and José García Narezo, whose pieces often include elements of political and social critique.

A standout in this section is Antonio Rodríguez Luna’s Portrait of Cécile Jacqué Daumas in the Library. This intimate work features a striking “painting within a painting” motif, offering a profound reflection of the exile’s experience, particularly his own.

Other highlights include works by Juan Eugenio Mingorance, a master who left an enduring artistic legacy in Monterrey. This section also depicts Rodríguez Luna’s and Arturo Souto’s studios—creative spaces where leading figures of the so-called “Rupture” were trained.