Painter of Light
Lucinda Urrusti has little interest in dating her works. At most she casually notes a few years. Her subjects can be identified clearly, from her first works to the most recent: portraits, female nudes, taverns, still lifes, animals and, occasionally, landscapes. However, these topics are approached in many different ways. Each category reflects new processes, stages, gazes and perceptions. Her pictorial language and line is constantly being renewed.
Lucinda Urrusti’s first steps in the art world coincided with the growing presence and influence of a generation in a context dominated by nationalist and social art. From her very first individual exhibition she earned enthusiastic praise from critics. It is striking that her work attracted the attention of both critics identified with message art and those who promoted internationalist trends.
Margarita Nelken, Antonio Rodríguez and Ceferino Palencia, among others, commented on the intimate character of her work, and its song, light and emotion. Her second solo show, in 1959, was reviewed by critics such as Enrique F. Gual, P. Fernández Márquez and Juan Gracía Ponce. According to Gual her work was more revealing, mature and took greater risks. Márquez defined it as, “small, deeply beautiful artistic poems,” and described Urrusti as “a rising star among young Mexican artists.” Likewise, Palencia perceived her as “giving birth to a style with specific singularities.”