Una aproximación al concepto de esencia plástica de Rufino Tamayo a través de tres cuadros sobre el espacio sideral

arrangement of Mexican culture, from Pre-Columbian civilizations up until recent times. In 20th Century Mexican plastic arts, such activities were equally crucial to Rufino Tamayo (1899-1991), a painter interested in figurative expressions of the night sky and the encounter with that of the infinite. In consonance with this, the aim of this work is to analyze the relation between visual syntaxis and the iconographic sense in three of the artist’s paintings: Cuerpos celestes (1946), El hombre (1953) y El astrónomo (1957). By means of this analysis, this work proposes an approach to a key concept created by the painter himself, plastic essence, in order to understand Tamayo’s universalist vision regarding art and Mexican culture.