When being monumental appears as an expressive resource in easel painting, it is generally associated with the large composition proportions of murals. Nonetheless, the presence of these languages in modern Mexican painting also has other references, especially for the artists who lived in Europe, such as Manuel Rodríguez Lozano, who had a prolific production period where the common denominator was the sublime nude figures of classic and neoclassic reference, as they were inspired by the Picassian works of the twenties. He always professed a particular admiration for the artist from Malaga, and boasted that he had known him personally in Paris. However, many years later, the Mexican playwright Rodolfo Usigle had the opportunity to deliver to the Maestro of Cubism a letter from the painter, which caused not comment nor reply from Picasso. However it may have been, Rodríguez Lozano was a critic of the nationalistic excesses found in the contents of Mexican painting and not in the dimensions of his works on the contrary, he tried to isolate himself from certain grandiose subjects sponsored by the State, and explored with formal interpretations which corresponded to his personality and interests.

Vide Jose Bergamín. Rodríguez Lozano. Mexico, Universidad Nacional Autónoma de México, 1942.