GUITARRA ANDALUZA
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Jesus Helguera spent the first years of his childhood in Mexico City and later in the Veracruz city of Cordoba. At seven he left Mexico with his family because of the Mexican Revolution and emigrated to Spain.1
That initially settled in Ciudad Real and later in Madrid, where, at twelve years old, he entered the School of Arts and Crafts, under the tutelage of Hipólito Hidalgo de Caviedes, 2 but two years later he entered the Academy of San Fernando1 to complete his studies in painting; there he studied first under the tutelage of Cecilio Pla and Moreno Carbonero and then with teachers Marcelino Santamaria, Manuel Benedito and Julio Romero Torres.2
His school career, along with independent study of works in the Museo del Prado led him to be awarded in a competition at the Circulo de Bellas Artes with different prizes and license plates honor.2 The prestige obtained opened the possibility of working as an illustrator for different publishers.
Helguera had his first teaching experience at 9 years of age as drawing teacher in elementary school. However, some years later he would win a contest as opposed to obtain a square art teacher at a high school in Bilbao. This would be the beginning of an outstanding career in teaching pictorial española.2
At the outbreak of the Spanish Civil War, Helguera, family with his wife Julia Gonzalez Llanos and his two sons (Maria Luisa and Fernand), he chose to return to Mexico to economic difficulties in which encontraba.2 His first job in Mexico he found in the journal \"Events for all.\" During that time he traveled the country to take a picture of it and its customs and traditions and know their geography, thus it is born the would be the first version of \"The Legend of the Volcanoes\", one of his most famous works .2
From 1954 and until 1970 he worked for the Galas de Mexico publisher, the publisher responsible for massively reproduce his work on behalf of the Cigar The Moderna.2
Jesus Helguera died on December 4, 1971 because of a hernia intestinal
His work such folk would mainly influenced by the current modernization and development policy that had the country in the decade of the forties and the existing nationalism among the artists of the time, especially the muralists.
Besides his work as an illustrator of folk themes, Jesus Helguera had jobs not calendrical, most notably his of1 Leda version and the Swan, a picture in which the female eroticism is more openly shown unlike their more commercial pictures, where female eroticism is more passive.
His works, with a strong romantic and academic style, reflect an unreal, idealized and mythological Mexico. As critics of the time were his very sentimental and purely commercial work, it was for some time relegated and ignored. Over time, the Mexican community in the United States took his work as a symbol of Mexican culture even though it was far from the Mexican reality. Carlos Monsivais, in his rituals of chaos, work Helguera described as a combination of the \"aesthetics of nationalistic mythomania\" and \"ethics of earthly rewards for submission to the unearthly\" .4
Jesus Helguera had his wife as the preferred model for his paintings. She can recognize him in some of his paintings famosos
