This PhD thesis analyses the poetics and aesthetics in Mexican Stridentism and its relationship with Avant-gardes in Hispanic America. It also does a research on the graphic and pictorial production of artists belonging to Mexican Stridentism and especially, on Fermín Revueltas and Ramón Alva de la Canal. Firstly, it makes an analysis of Stridentism aesthetic and poetic assumptions and the keys to its particular synthesis of European Avant-gardes, specially exploring in depth a comparison between Mexican Stridentism and Spanish Avant-garde movements, focusing on Ultraism. In the second place, it proposes a historical revision on the evolution of Escuelas de Pintura al Aire Libre and ¡30-30! Movement, highlighting the importance of artists’ professional organizations in Stridentist painters as well as in Mexican art of the twenties.

Finally, it studies the creative evolution of Fermín Revueltas and Ramón Alva de la Canal during the twenties and first half of the thirties, by analyzing its formal and stylistic development, the reception by contemporary critics and the treatment of these two authors in the historiography of modern Mexican art. The research ends up concluding the advisability of reviewing some of the historiographic topics on Mexican art of the twenties, and claiming the need to consider that along with the Muralism, there was an artistic Avant-garde in Mexico structured around a formal language, generically called constructivism, and whose main contributions focus on the field of graphic design and xylography. The graphic work is shaped, therefore, as an alternative to the mural, as the optimal support to the Avant-garde agitation and as a channel of expression that allowed the artist freedom opposite to the dependence of political power that necessarily imposed Muralism.