Modern Mexican art has been a process that covers more elements of continuity than of rupture, because to begin with, some artists covered the generational transition from the XIX to XX century; the stylistic tendencies of a cosmopolitan tone at the beginning of the century were those that allowed for a natural assimilation of the avant-garde of the twenties; where the search to define an art that was Mexican was a result of a post-revolutionary nation project that emerged from the ashes of the Porfiriate. Nevertheless, the written history of art has granted the privilege of a mechanical notion of a rupture towards the middle of the century to explain the appearance of a new generation of artists who, supposedly, broke off from the so- called Mexican School of Painting; a concept that, as has been seen, is insufficient in itself to cover the idea of modernity in Mexican art. Artists who, like Pedro Coronel came to enrich the artistic world, and certainly to innovate stylistically with artistic forms and interpetations, did not come into being through spontaneous generation, as they are an obvious product of the artistic aperture of masters like Carlos Orozco Romero, Rufino Tamayo and even Alfonso Michel. The Pedro Coronel piece on the Blaisten Collection, shows, beyond its obvious allusion to a Jaguar as a deity from the mesoamerican world, the debts this "rupture" generation has, where colors, textures and ancient symbolism used by the painter, would be unthinkable interpretations without the historical process of four decades of modern art.

Vide Justino Fernández. Pedro Coronel, pintor y escultor (Pedro Coronel, painter and sculptor). Mexico, Universidad Nacional Autónoma de Máxico, 1971.