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List of Images

Figure 1. Maruja Mallo. Cabezas de mujer, or Retratos bidimensionales [Heads of Women, or Bidimensional Portraits], c. 1940-1952. All paintings © Maruja Mallo (collage by me). For more information on each image composing this collage see figures 3-14 of this list.

Figure 2. Maruja Mallo in her house-studio in Buenos Aires in 1944. Archivo Maruja Mallo. Accessed from Maruja Mallo Official Pinterest, https://www.pinterest.es/pin/632826185125123399/

Figure 3. Maruja Mallo. Cabeza de mujer, frente [Head of Woman, front], 1941. Oil on panel, 56 x 44 cm. Museo Provincial de Bellas Artes Rosa Galisteo de Rodríguez, Argentina © Maruja Mallo. Accesed from Pinterest Museo Rosa Calisteo, https://www.pinterest.co.uk/pin/317996423685355937/

Figure 4. Maruja Mallo. Cabeza de mujer, perfil [Head of Woman, front], 1941. Oil on panel, 56 x 44 cm. Museo Provincial de Bellas Artes Rosa Galisteo de Rodríguez, Argentina © Maruja Mallo. Accesed from Pinterest Museo Rosa Calisteo, https://www.pinterest.co.uk/pin/449163762837629887/

Figure 5. Maruja Mallo. Cabeza de mujer negra, frente [Head of Black Woman, front], 1946. Oil on canvas, 56.5 x 46.5 cm. Museo de Pontevedra, Spain © Artists Rights Society (ARS), New York/VEGAP, Madrid; Copyright Estate of Maruja Mallo, DACS. Accessed from Tanjand Livejournal, https://tanjand.livejournal.com/2558585.html

Figure 6. Maruja Mallo. Silhouette of Cabeza de mujer negra, perfil [Head of Black Woman, profile], 1946. Unknown technique, 56 x 46 cm. Unknown location. An image of this painting will likely be published for the first time in Maruja Mallo’s catalog raissoné. For reference, see figure 37, in which Maruja Mallo appears posing next to this painting. Silhouette done from a white-and-white reproduction of the painting, accessed thanks to the courtesy of gallerist Guillermo de Osma.

Figure 7. Maruja Mallo. La cierva humana, frente [The Human Deer, front], 1948. Oil on canvas, 55.5 x 45 cm. Museo de Bellas Artes de La Boca “Benito Quinquela Martín,” Argentina © Maruja Mallo. Accessed from Fernando Huici March and Juan Pérez de Ayala eds., Maruja Mallo, vol.1 (Madrid: Sociedad Estatal de Conmemoraciones Culturales, Ministerio de Cultura, Fundación Caixa Galicia, 2009): 81.

Figure 8. Maruja Mallo. La cierva humana, perfil [The Human Deer, profile], 1948. Oil on canvas, 56 x 46 cm. Museo de Bellas Artes de La Boca “Benito Quinquela Martín,” Argentina © Maruja Mallo. Accessed from journal Clarín, https://www.clarin.com/cultura/amiga-dali-lorca-alberti-historia-gran-pintora-gallega-maruja-mallo_0_6M-xPoQbX.html

Figure 9. Maruja Mallo. Silhouette of Polinesia, frente [Polynesia, front], 1951. Unknown technique, 56 x 44 cm? Unknown location. An image of this painting will likely be published for the first time in Maruja Mallo’s catalog raissoné.

Figure 10. Maruja Mallo. Polinesia, frente [Polynesia, profile], 1951. Oil on canvas, 55 x 43 cm. C.A.C. Técnicas Reunidas, S.A.- Museo Patio Herreriano, Valladolid, Spain © Maruja Mallo. Accessed from Estrella de Diego. Maruja Mallo (Madrid: Fundación Mapfre, 2008): 88.

Figure 11. Maruja Mallo. Mujer rubia or El campeón [Blonde Woman or The Male Champion], 1951. Oil on panel, 49 x 40 cm. Colección de Arte Afundación Obra Social Abanca, Spain. © Maruja Mallo. Accessed from https://www.afundacion.org/es/coleccion/obra/43745223_mujer_rubia (image: © Afundación Obra Social Abanca)

Figure 12. Maruja Mallo. Oro [Gold], 1951. Oil on canvas glued on panel, 51 x 40 cm. Museo Patio Herreriano, Valladolid, Spain © Maruja Mallo. Accessed from Fernando Huici March and Juan Pérez de Ayala eds., Maruja Mallo, vol.1 (Madrid: Sociedad Estatal de Conmemoraciones Culturales, Ministerio de Cultura, Fundación Caixa Galicia, 2009): 199. 

Figure 13. Maruja Mallo. Joven negra [Young Black Woman], 1948. Oil on cardboard, 47 x 38.5 cm. Archivo Maruja Mallo/ Galería Guillermo de Osma © Maruja Mallo. Accessed from https://www.descubrirelarte.es/wp-content/uploads/2017/09/04-.%C2%A9MarujaMallo_JovenNegra_1948_Galer%C3%ADa-Guillermo-de-Osma-838x1024.jpg

Figure 14. Maruja Mallo. Argentina, 1952. Oil on canvas, 49 x 40.7 cm. US private collection © Maruja Mallo. Accessed from Por amor al arte [blog], http://poramoralarte-exposito.blogspot.com/2020/01/maruja-mallo-1902-1995.html

Figure 15. Maruja Mallo. Estudio para cabeza de mujer [Sketch for Head of Woman], 1940 -1944. Oil on cardboard, 50 x 40 cm. Archivo Maruja Mallo/Archivo Lafuente © Maruja Mallo. Accessed from Museo Nacional de Bellas Artes de Santiago de Chile’s Facebook profile, https://www.facebook.com/MNBAChile/photos/a.398412546261/10155995589566262/

Figure 16. Maruja Mallo. Retrato de mujer, perfil [Portrait of Woman, profile], c. 1947. Private collection. Accessed from Maruja Mallo Official Pinterest profile, https://www.pinterest.co.uk/pin/632826185113843612/?nic_v1=1aSD8DpyWLSsKNvZ25kOpPufXm8PSeybaDW5IpyVKXSZcX4VQNyFuYsjuTKwSvygoA

Figure 17. Cover of the first monograph devoted to Maruja Mallo, with prologue by Ramón de Gómez de la Serna. Buenos Aires: Losada, 1942. Accessed from Maruja Mallo Official Pinterest, https://www.pinterest.es/pin/632826185115009128/

Figure 18.
Left: Jacopo Sansovino (1486-1570), Bacchus, 1511. Museo Nazionale del Bargello, Florence, Italy. Accessed from Wikioo, https://wikioo.org/es/paintings.php?refarticle=8XZUZ5&titlepainting=Bacchus&artistname=Jacopo%20Sansovino
Right: Plasters at the San Fernando Royal Academy of Fine Arts, Madrid, Spain. Accessed from https://www.realacademiabellasartessanfernando.com/es/taller-de-vaciados

Figure 19.
Left: Julio Moisés Fernández de Villasante. Retrato de la señorita Iturrióz [Portrait of Miss Iturrióz], 1921. Oil on canvas, 65.5 x 53 cm. Accessed from From Tesoros de las colecciones privadas de las Palmas de Gran Canaria (1887-1938) (Las Palmas de Gran Canaria: Museo Néstor, 2004), 160-161, https://mdc.ulpgc.es/cgi-bin/showfile.exe?CISOROOT=/MDC&CISOPTR=43548&filename=80031.pdf
Right: Maruja Mallo, María Luisa, c.1922. Oil on tablex, 55 x 48 cm. © Maruja Mallo. Accessed from VEGAP, http://bi.vegap.es/ext/obra.aspx?id=10929

Figure 20. Piero della Francesca. The Duke and Duchess of Urbino, c. 1465-1472. Tempera on panel, 47 cm × 33 cm. Uffizi Gallery, Florence, Italy. Accessed from Wikipedia, https://en.wikipedia.org/wiki/The_Duke_and_Duchess_of_Urbino#/media/File:Piero_della_Francesca_044.jpg

Figure 21.
Right: Maruja Mallo, Head of Woman (profile), 1941. See figure 4.
Left: Maruja Mallo. Blonde Woman/ The [Male] Champion, 1951. See figure 11.

Figure 22. Naturaleza viva [Living Nature, 1942] and Head of Woman (profile, 1941) featured at magazine Renacimiento, Revista Italo-Sudamericana de Cultura nos. 10-11, Lima, Perú. Newspaper clipping. Archivo Maruja Mallo. https://www.pinterest.es/pin/632826185128670909/

Figure 23. Maruja Mallo. Cabeza de frente y de perfil [Head in Frontal and Profile View], 1947. Pencil on paper, 24.5 x 35 cm. Archivo Maruja Mallo. Accessed from Maruja Mallo Official Pinterest, https://www.pinterest.es/pin/632826185111786512/

Figure 24.
Up: Maruja Mallo. El canto de las espigas [The Song of the Spikes, 1939]. Oil on canvas, 118 x 233 cm. Museo Nacional Centro de Arte Reina Sofía. Accessed from https://www.museoreinasofia.es/en/collection/artwork/canto-espigas-song-spikes
Down: “Harmonic outline” of The Song of the Spikes. https://www.pinterest.es/pin/771522979900628729/

Figure 25.
Left: Maruja Mallo. Naturaleza Viva [Living Nature, 1943]. Accessed from Maruja Mallo Official Pinterest, https://www.pinterest.es/pin/632826185130907457/
Right: Its corresponding “harmonic outline.” Accessed from Maruja Mallo Official Pinterest, https://www.pinterest.es/pin/632826185131044878/

Figure 26. Maruja Mallo. Perspectiva de cubo y cabeza [Perspective of Cube and Head], 1936-1937. Pencil and color pencil on paper, 21.5 x 49 cm. Archivo Maruja Mallo/Archivo Lafuente. Accessed from Archivo Lafuente, https://www.archivolafuente.com/obra-artistica/1900-1945/espana/archivo-maruja-mallo/

Figure 27. Maruja Mallo. The Human Deer (front and profile, 1948) © Maruja Mallo. See figures 7 and 8.

Figure 28. Maruja Mallo. Bidimensional Portrait, September 1947. Pencil on paper, 9 x 16 cm. Archivo Maruja Mallo. Accessed from Maruja Mallo Official Pinterest, https://www.pinterest.es/pin/632826185120831476/

Figure 29. Drawings, diagrams, and annotations by Maruja Mallo, Buenos Aires, 1937. They are a synthesis of Matila C. Ghyka’s Esthétique des proportions dans la nature et dans les arts. Accessed from Maruja Mallo Official Pinterest, https://www.pinterest.es/pin/632826185119017578/

Figure 30. Harmonic analysis of a photo of Miss Helen Willis, following the golden ratio. In Matila Ghyka, El número de oro, vol I (Poseidón, 1984): Plates XIX and XX, p. 72-73 (First edition in French: Le nombre d’or. Paris: Gallimard, 1931): Accessed from https://es.scribd.com/doc/133060470/Ghyka-Matila-El-Numero-de-Oro-Tomo-I

Figure 31. Cover of the first edition of Joaquín Torres García’s Universalismo Constructivo. Buenos Aires: Poseidón, 1944. Accessed from Librería El Astillero, https://libreriaelastillero.com/libros/universalismo-constructivo-contribucion-a-la-unificacion-del-arte-y-la-cultura-de-america.html

Figure 32.
Left. Maruja Mallo. Estampa cinemática [Cinematic Print, 1927]. Ink and color pencils on paper, 44 x 31 cm. Accessed from https://www.descubrirelarte.es/wp-content/uploads/2017/09/03-.%C2%A9MarujaMallo_EstambaCinetica_1927_Galer%C3%ADa-Guillermo-de-Osma.jpg

Right. Maruja Mallo. Cover for Xavier Abril’s Hollywood (Madrid: Editorial Ulises, 1931). Accessed from Maruja Mallo Official Pinterest: https://www.pinterest.es/pin/632826185127284282/

Figure 33. Actress Kay Francis (1905-1968) featured on the cover of Cinelandia (July 1940). Accessed from Cuba Collectibles Pinterest, https://www.pinterest.es/pin/29695678781062780/

Figure 34. Actress María Félix (1914-2002) featured in the cover of the Argentinean magazine Sintonía in 1949. Accessed from Fundación María Félix, https://www.facebook.com/fundacionmariafelix/photos/a.1107739569428342/1534342493434712/

Figure 35.
Right: Reproduction of Maruja Mallo’s El Campeón (currently known as Blonde Woman, 1951) in the Argentinean magazine Para Ti. Accessed from Maruja Mallo Official Pinterest, https://www.pinterest.es/pin/632826185137874594/
Left: Reproduction of Maruja Mallo’s The Human Deer (front, 1948) in the Argentinean magazine Para Ti. Accessed from Maruja Mallo Official Pinterest, https://www.pinterest.es/pin/632826185139760744/ 

Figure 36. Various covers of the Argentinean magazine Para Ti designed by Raúl Manteola, 1940s. Compiled by Ricardo Güiraldes for Chilean Charm, https://www.chileancharm.com/MANTEOLA/RAUL_MANTEOLA.htm

Figure 37. Maruja Mallo posing next to Head of Black Woman, profile (1946) at her exhibition “Les peintures de Maruja Mallo” at Silvagni Gallery in Paris (March 3-31, 1950). Photographed reproduced as an illustration of Claude Auzaguet’s comment on Mallo’s exhibition in Paris, Elle (ed. France) no. 225 (March 20, 1950): 8. Image reproduced from my own copy of that issue of Elle.

Figure 38.
Left: Maruja Mallo. Head of Woman, front, 1941. See figure 3.
Center: British actress Vivien Leigh as Scarlett O’Hara in the movie Gone with the Wind. Accessed from Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Vivien_Leigh_Gone_Wind_Restored.jpg
Right: Maruja Mallo, Argentina, 1952. See figure 14.

Figure 39. Maruja Mallo at the Spanish TV program A fondo in 1980, when she was interviewed by Joaquín Soler Serrano. Clip from https://www.youtube.com/watch?v=Wb2HXDael7I

Figure 40. Maruja Mallo. Retrato de hombre con escala de color [Portrait of a Man with Color Scale], undated. Oil and pencil on cardboard, 37 x 52,5 cm. Archivo Maruja Mallo. Galería Guillermo de Osma. © Maruja Mallo. Accessed from Enciclopedia online Historia/Arte, https://historia-arte.com/obras/retrato-de-hombre-con-escala-de-colores

Figure 41. A vintage Maybelline ad from 1940. Accessed from https://maybelline.tumblr.com/post/13501651206/a-vintage-maybelline-ad-from-1940

Figure 42. “A New Rainbow of Lipsticks Reds…” 1940s Max Factor advertisement. Accessed from http://4.bp.blogspot.com/-wJ1uftrbofM/ULemej1rdbI/AAAAAAAABH4/X4L1QeAirq8/s1600/314990_459185830782659_1555191842_n.jpg

Figure 43. Comparison of Maruja Mallo’s The Human Deer (profile, 1948), Head of Black Woman (1946), and Head of Woman (front, 1941) and three different studio lighting styles of The Lighting Guide developed by The Camera World, https://cdn.mos.cms.futurecdn.net/FsTYC6GARZyGWq4i8Ge2rS.jpg

Figure 44. Top Hollywood hairstyles in 1941. Accessed from Glamour Daze: A Vintage Fashion and Beauty Archive, https://image.glamourdaze.com/2016/01/Top-Hollywood-Hairstyle-Looks-for-1941-768x496.jpg

Figure 45.
Right: Eartha Kitt. Accessed from https://i.pinimg.com/originals/70/26/8d/70268d29ab9e7d8e5662936e335d6706.jpg
Center: Anne Cole Lowe. Accessed from https://mystreetstyles.com/2020/03/09/women-in-fashion-ann-cole-lowe/
Left: Theresa Harris. Accesed from https://www.imdb.com/name/nm0365382/

Figure 46. Polynesia (profile) 1951. See figure 10.

Figure 47. Maruja Mallo. Estudios de cabeza de mujer [Sketches for heads of women]. Ink on paper, 21.4 x 18.4 cm. Archivo Maruja Mallo/Archivo Lafuente. Accessed from Archivo Lafuente, https://www.archivolafuente.com/obra-artistica/1900-1945/espana/archivo-maruja-mallo/

Figure 48. Eva Perón and a group of miners during the celebration of her birthday on May 7, 1951. Accessed from Instituto Nacional de Investigaciones Históricas Eva Perón, http://web.museoevita.org.ar/?page_id=4801

Figure 49. Actress and singer Rita Montero and her father (Severo Miguel Montero) with mother and daughter (María Magdalena “Magda”) from a neighboring family. Unidentified photographer, Buenos Aires, c. 1936. Black and white photographic paper Ridax, 8.9 x 6.3 cm. Accessed from Norberto Pablo Cirio, “Aportes para el estudio de la fotografía de afroargentinos: la colección Rita Lucía Montero,” Identidades 8 (2016): 10, https://www.academia.edu/37051734/Aportes_para_el_estudio_de_la_fotografi_a_de_afroargentinos_la_coleccio_n_Rita_Luci_a_Montero

Figure 50. Maruja Mallo and friends during summer in Punta del Este, Uruguay, c. 1942. Accessed from https://pbs.twimg.com/media/DncWKbyW0AAPsu6?format=jpg&name=small

Figure 51. Detail from Maruja Mallo’s Sketch for a Head of Woman, 1940-1944. Photo: María Cimadevilla, from her blog “Érase infinitas veces,” http://eraseinfinitasveces.com/mitad-angel-mitad-marisco/

Figure 52. Sesostris Vitullo. Eva Perón, arquetipo símbolo [Archetype Symbol], 1952. Stone of Gard, h: 1.12 m. Collection Universidad Torcuato Di Tella. Accessed from Proa Foundation, http://www.proa.org/exhibiciones/pasadas/vitullo/sala1/1.html

Figure 53. Maruja Mallo. Argentina, 1952. See figure 14.

Figure 54. Maruja Mallo interviewed by a journalist of O Jornal in her apartment of the Copacabana Palace, Rio de Janeiro, 1946. Accessed from Maruja Mallo Offical Pinterest, https://www.pinterest.es/pin/632826185113659784/

Figure 55. Maruja Mallo. The Human Deer (front and profile). See figures 7 and 8.

Figure 56. Maruja Mallo,
Left: Joven mujer negra desnuda [Young Nude Black Woman], 1948. Oil and pencil on cardboard, 49 x 34.5 cm. Accessed from Maruja Mallo Official Pinterest, https://www.pinterest.cl/pin/632826185127328178/
Center: Estudio para desnudo femenino [Study for Female Nude], 1946. Oil on canvas, 50 x 38.5 cm. Accessed from Maruja Mallo Official Pinterest, https://www.pinterest.cl/pin/632826185126884017/
Right:  Joven negra de espaldas [Young Black Woman with Her Back Turned]. Oil and pencil on cardboard, 53 x 37 cm. Archivo Maruja Mallo. Accessed from Maruja Mallo Official Pinterest, https://www.pinterest.es/pin/632826185127428778/

Figure 57. Anita Malfatti. Tropical, 1917. Oil on canvas,  77 x 102 cm. Collection of the Art Museum of Sao Paulo, Brazil. Accessed from https://dam-13749.kxcdn.com/wp-content/uploads/2018/08/ANITA-MALFATTI-1.jpg

Figure 58. Tarsila do Amaral. A Negra, 1923. Oil on canvas, 100 x 80 cm. Museo de Arte Contemporânea de Universidade de São Paulo. Accessed from http://tarsiladoamaral.com.br/obra/inicio-do-cubismo-1923/

Figure 59.
Right: Emilio di Cavalcanti, Samba, 1925 (destroyed in 2012). Oil on canvas, 175 x 154 cm. Accessed from https://www.newcitybrazil.com/wp-content/uploads/2016/03/Di-Cavalcanti-22Samba22-1925-1.75-x-1.54-meter-oil-on-canvas.-Modernist-icon-destroyed-in-2012-fire.-Genevi%C3%A8ve-and-Jean-Boghici-Collection.jpg
Left: Emiliano di Cavalcanti, Mulatas, 1927. Oil on cardboard, 50 x 39 cm. Accessed from Enciclopédia Itaú Cultural de Arte e Cultura Brasileiras. São Paulo: Itaú Cultural, 2021, https://enciclopedia.itaucultural.org.br/obra4598/mulatas

Figure 60.
Right: Emiliano di Cavalcanti, Mulata em Rua Vermelha, 1960. Oil on canvas, 98 x 79 cm. Coleção Antônio Salgado, Rio de Janeiro. Accessed from Templo Cultural Delfos, A Digital Archive, http://1.bp.blogspot.com/-kaHNuzpUWZk/UZF42cp1EKI/AAAAAAAAJBs/WDbFU-Ez9h8/s1600/Mulata+em+Rua+Vermelha+,+1960.jpg
Left: Emiliano di Cavalcanti, Mulata e pássaros, 1967. Oil on canvas, 81.3 x 61 cm. Accessed from Christie’s, https://www.christies.com/en/lot/lot-5739396

Figure 61.
Left: Cándido Portinari. Índia e Mulata, 1934. Oil on canvas, 72 x 50 cm. Private Collection, Brazil. Accessed from Proa Foundation, http://www.proa.org/esp/exhibicion-proa-exposicion-portinari-obras.php
Right: Cándido Portinari. Mestiço, 1934. Oil on canvas, 65.5 x 81 cm. Pinacoteca do Estado de São Paulo. Accessed from Google Arts and Cultures, https://artsandculture.google.com/asset/mestizo-man/BAFftYzvIr7UYg

Figure 62. Minga-Minga, 1904. Galería de Ladrones Conocidos. Centro de Estudios Histórico Policiales “Francisco Romay,” Policía Federal Argentina, Buenos Aires, 1904. Accessed from Galeano. “Travelling Criminals and Transnational Police Cooperation in South America, 1890-1920.” In Voices of Crime: Constructing and Contesting Social Control in Modern Latin America, edited by Luz E. Huertas, Bonnie A. Lucero, and Gregory J. Swedberg (Tucson: University of Arizona Press, 2016): 23. https://books.google.es/books?id=rIMnDQAAQBAJ&lpg=PP1&pg=PP1#v=onepage&q&f=false

Figure 63. Alberto Henschel. Portrait-Cafuza, c.1869. 9 x 5,7 cm, albumina/silver. Leibniz-Institut fuer Laenderkunde, Leipzig/ Instituto Moreira Salles. Accessed from Brasiliana Fotográfica, http://brasilianafotografica.bn.br/brasiliana/handle/20.500.12156.1/4512

Figure 64. Roquette-Pinto. Photograph of a ‘Cafuzo’ (1929). Accessed from Sebastião Vanderlei de Souza. “Retratos da nação: os ‘tipos antropologicos’ do Brasil nos estudos do Edgard Roquette-Pinto, 1910-1920.” Boletim do Museo Paraense Emílio Goeldi. Ciências Humanas 7, no. 3 (2012): 652, https://www.scielo.br/pdf/bgoeldi/v7n3/a03v7n3.pdf

Figure 65. Press clipping showing Maruja Mallo’s Head of Black Woman and Vida vibrante [Vibrant Life] in La Prensa, Buenos Aires, November 14, 1948, with the occasion of Mallo’s exhibition at Carstairs Gallery in New York that year. Accessed from Maruja Mallo Official Pinterest, https://www.pinterest.es/pin/632826185113132872/

Figure 66.
Left: Maruja Mallo. Young Black Woman, 1948. See figure 13.
Right: Illustration of Codiaeum Irregulare, included in E.J. Lowe’s Les plantes a feuillage coloré: histoire, description, culture, emploi des espèces les plus remarquables pour la décoration des parcs, jardins, serres, appartements précédé d’une introduction par Charles Naudin (Paris: Rothschild,1867-1870): plate XLVIII. Accessed from Biodiversity Heritage Library, https://www.biodiversitylibrary.org/page/16481857#page/298/mode/1up

Figure 67.
Left: Maruja Mallo, Polynesia (profile, 1951). See figure 10.
Right: Alberto Henschel. Moça-Cafuza (cropped), c.1869. Albumina/silver, 9 x 5.7 cm. Leibniz-Institut fuer Laenderkunde, Leipzig/ Instituto Moreira Salles. Accessed from Brasiliana Fotográfica, http://brasilianafotografica.bn.br/brasiliana/handle/20.500.12156.1/4511

Figure 68. Maruja Mallo. Man and Fish, in the artist’s Notebook of Galicia, 1936. Pencil on paper, 21 x 26 cm. Archivo Maruja Mallo. Accessed from Maruja Mallo Official Pinterest, https://www.pinterest.es/pin/506232814367000363/

Figure 69. Maruja Mallo. Armonías plásticas. Mural paintings for Los Ángeles Movie Theatre, right panel, Buenos Aires, 1945 (destroyed at the beggining of the 1980s). Accessed from Totum Revolutum, a blog by Olga Cabrinety, https://olga-totumrevolutum.blogspot.com/2017/05/maruja-mallo-o-la-particular.html

Figure 70.
Left: Cover of José Vasconcelos. La raza cósmica: misión de la raza iberoamericana (Barcelona: Agencia Mundial de Librería, 1925). Accessed from http://www.filosofia.org/aut/001/razacos.htm
Right: Portrait of José Vasconcelos (cropped), photographed by Harris & Ewing. Accessed from Wikipedia, https://es.m.wikipedia.org/wiki/Archivo:Jose_Vasconcelos_(cropped).jpg

Figure 71. Maruja Mallo. 5 razas [5 races], c. 1957. Ink and color pencils on paper, 16 x 22 cm Archivo Maruja Mallo. Accessed from Maruja Mallo Official, https://www.pinterest.es/pin/632826185115740866/

Figure 72. Maruja Mallo. COLOR 5= 25 COMB= “RAZ,” December 22, 1957. Archivo Maruja Mallo. Accessed from Fernando Huici March and Juan Pérez de Ayala eds., Maruja Mallo, vol.1 (Madrid: Sociedad Estatal de Conmemoraciones Culturales, Ministerio de Cultura, Fundación Caixa Galicia, 2009): 210.

Figure 73. Maruja Mallo as a drawing teacher in Arévalo, Spain, in 1933. Archivo Maruja Mallo. Accesed from Maruja Mallo Official Pinterest, https://www.pinterest.es/pin/632826185114692423/

Figure 74. Maruja Mallo. La Verbena [The Street Fair], 1927. Oil on canvas, 119 x 165 cm. Museo Nacional Centro de Arte Reina Sofía. © Maruja Mallo. Accessed from the MNCARS’s website: https://www.museoreinasofia.es/en/collection/artwork/verbena-fair

Figure 75. Maruja Mallo (left) and Josefina Carabias (right) with Mallo’s painting Antro de fósiles, from her series Cloacas y Campanarios [Sewers and Bell Towers], 1931. Accessed from Tal día como hoy. Mujeres del Arte, a project by Diana Larrea, https://taldiacomohoy.es/maruja-mallo-1902-1995/#jp-carousel-490

Figure 76. Maruja Mallo in her studio in Madrid, surrounded by her artworks. Photo by Vicente Moreno, 1936. Archivo Moreno. Fototeca del Instituto del Patrimonio Cultural de España, Ministerio de Educación, Cultura y Deporte. Accessed from Tal día como hoy. Mujeres del Arte, a project by Diana Larrea, https://taldiacomohoy.es/maruja-mallo-1902-1995/#jp-carousel-488

Figure 77. Maruja Mallo with the complete series of paintings La Religión del Trabajo [The Religion of Work, 1937-1939] in her studio in Buenos Aires, c. 1942. Archivo Maruja Mallo. Accessed from Maruja Mallo Official Facebook page: https://www.facebook.com/MarujaMalloOficial/photos/a.760891874088881/760891750755560

Figure 78. Maruja Mallo on a bike in Punta del Este (Uruguay), c. 1940. 17,7 x 12,6 cm. Residencia de Estudiantes, Madrid. Accessed from La sombra vencida 1910-2010 [online exhibition, Biblioteca Nacional de España], http://www.bne.es/es/Micrositios/Exposiciones/miguel_hernandez/Exposicion/Seccion2/Obra53.html?origen=galeria