Francisco Corzas

Mexico City, 1936 - Mexico City, 1983

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Seen at a distance, Corzas was a painter with a visual indomitable presence, accurate in his vision of the intended purpose of the painting itself: creates a world populated by beings themselves. Always aware of the value of the great figures in the history of art, as Rembrandt and Caravaggio, Goya and José Clemente Orozco, Francisco Corzas was an artificer who understood the profound stylistic changes introduced by his generation in mid-twentieth century in Mexico . (By Luis Martin Lozano in "Francisco Corzas" Grupo Financiero Bital)

In contrast to the frivolity of that Mexican cultural elite, Francisco Corzas took refuge in the truths of the past. For him, it was clear that the violence contained by Caravaggio was not lying, or the light in Rembrandt 's paintings itself was able to bare the soul of men, and, eventually, Goya had not lost his mind, but discovered extreme lucidity in the depths of irrationality. In summary, he knew about painting, he was a cult artist, devoid of false intellectuality. In many ways it was an anti-modern painter, a true outcast of modernity. A post-romantic, he was wrong century or a visionary who realized that the formal progress of the avant-garde did not lead necessarily to abstraction and expressionism of the New York School action painting. Seen through the eyes of an art historian, Francisco Corzas could be called the first Mexican postmodern, just that way to evade the evolving modernity and know with wisdom how to take artistic elements of the past, without being stuffy academicism. (By Luis Martin Lozano in "Francisco Corzas" Grupo Financiero Bital)

It was, rather, an artist of constants and reiterations, of subjects, which returned again and again. One of them, certainly favorite, was the female nude.

A great admirer of Titian, body effigies left the Corzas’ brush perhaps have fewer links with the Italian art than with the rich tradition of Mexican painting. Corzas female archetypes are linked to the conception of the ending century, the femme fatale , the woman devouring men who are able to possess the soul of the artist. He has an endorsement in the poetry of symbolism, and its origin dates back to the vicinity of the eighteenth century, when the female is the protagonist of the Rococo painting, and frivolous, and sexually dissipated, is held by the colors of Boucher and Fragonard. By the nineteenth century, romanticism illustrated evidence is insufficient reason to try to explain the Hermetic and seductive nature of women. In the purity of her virginity, artists are proof that salvation for the soul, but also that your body is the very incarnation of lust, and therefore path of perdition. (By Luis Martin Lozano in "Francisco Corzas" Grupo Financiero Bital)

Another topic that puts Corzas in line for a historicist painter, is the recurrence to the past, without any rigor chronologies, of course. Particularly liked to evoke the Baroque culture, not just as a passing fad , but as a repeated presence of strangers lonely characters that inhabit his paintings, for example, the figurative self-portraits. Corzas seems to have read the lives of the painters Giorgio Vasari wrote. If so, his mind was set on the explanation that the biography, however the distance real talent had, eventually condition the fate of the artist. (By Luis Martin Lozano in "Francisco Corzas" Grupo Financiero Bital)


Francisco Corzas Main Solo Exhibitions


1958 "Francisco Corzas", Young Men Christian Association (YMCA), Rome

1962 "Francisco Corzas", Galería Misrachi, Mexico City

1968 "Francisco Corzas", Galería Fiamma Vigo, Rome

1972 "Francisco Corzas: Retrospectiva 1962-1972", Palacio de Bellas Artes, Mexico City

1974 "Francisco Corzas", Galería Radice, Lissone, Italy

1984 "Francisco Corzas: Homenaje póstumo", La Galería Metropolitana, de la Universidad Autónoma Metropolitana, Mexico City

1996 "El arte de Francisco Corzas", Mexico City