Saturn
Author: María Izquierdo
Name: Saturno (Saturn)
Date: 1935
Material: Watercolor on paper affixed to cardboard
Dimensions: Unknown
Location: Lost
In 1936, French writer Antonin Artaud spent time in Mexico, where he developed a close friendship with María Izquierdo. Artaud praised her work for embodying what he called the “Indian spirit,” a profound connection to Mexico’s pre-Hispanic cultural roots, in contrast to the influence of Western intellectual traditions that he observed in other Mexican painters. When Artaud returned to France, he took approximately 40 of Izquierdo’s paintings, intending to exhibit them in Paris in 1937. However, following the exhibition at the Van den Berg Gallery in Montparnasse, Izquierdo requested the return of her works, only to be told by Artaud that they had been stolen. Despite the loss, the collaboration between Artaud and Izquierdo reflected their shared fascination with dreams and Surrealism.
One of the standout works from this period is Saturn (Saturno, 1936), a painting that epitomizes Izquierdo’s Surrealist and esoteric influences. The composition features desolate landscapes, radiant lightning, and planetary motifs, reflecting the astrological symbolism of Saturn. While the theme of Saturn has historically been associated with melancholy and creative genius, Izquierdo presents a strikingly different perspective. In Saturn, the planet’s influence is not one of inspiration but of oppression, particularly directed at women. The scene shows women in states of bondage and submission, evoking a sense of entrapment under the influence of Saturn. Desolate landscapes and symbolic forms—columns, celestial entities, and stormy skies—enhance the tension of the composition, transforming Saturn into a force of subjugation rather than enlightenment. This inversion challenges traditional interpretations of the planet’s power and situates Izquierdo’s work within a broader critique of gender, highlighting the unique intersection of astrological symbolism and feminist undertones in her art.