Montuy born in Frontera, Tabasco, Mexico on October 25, 1925. From childhood he showed great interest in reading and drawing, but ran into opposition from his father, a businessman macuspanense soap, so decided to autograph his early works such as Leon Montuy and then only with your mother's maiden name, Montuy.

Back in high school Liceo French critics were the first expressions of injustice, making caricatures of teachers who abused their position to discriminate against students who were dark-skinned or not they were French or children of the same and thus became entitled to removal.

There he met the "Poet of America," Carlos Pellicer, who was his history teacher and later his friend, collector and promoter Montuy stressed to their artistic talents. (See: Oct62 Chap comp, Aug 71 com BA PA Aug 71 BA comp int.)

Pellicer teacher's words motivate the young then, a much greater interest in the art of denunciation, the expression of injustice and human deprivation of all kinds.

The vision that helped him discover Pellicer their history classes, was created in Montuy a thirst for scientific knowledge, social, political, cultural and humanistic.

10pt; font-family: Tahoma "> So, adding his many concerns, generated a pool and led to a creative style, which converge art, storytelling, reporting, colorful, expressive power, technology, and other feelings qualities that resulted in works of great workmanship. (See: November 1981 Ref Aud Pue, Real Cam October 1987, October 1987 Cam R-PU1, the anonymous, False invocation, Eva in paradise.)

Montuy said: "I do not paint to emotional weaknesses. People identify with my work, reminds precepts forgotten accepts or rejects it excited indignation ... "(See Appendix: Rent Car Mart November 1984 Univ.)

Montuy held thirty murals in his lifetime and made sketches of almost ten. Seven of them are in Mexico City, four in the main building of Venustiano Carranza, one in the House of Culture "Enrique Ramirez Ramirez" in the same office.

The remaining two of the capital city - "Rise of the subjugated peoples" and "Still" - decorate walls of the stairs of the former main building of the Government of Mexico City, exactly opposite corner of the National Palace, in the main square of Mexico City, within the historic core.

In this way, the pair of Orozco and Rivera, Montuy was one of only three expressed their art in buildings of the square, Cultural and Historical Heritage of Mankind, UN 1987. But they, unlike Rivera and Orozco, who recorded the aggression that has been our country by foreign powers, he also coined his own vision.

Represented the subjugation and servility which in turn accepted the Spanish crown against the French Empire of Napoleon Bonaparte, from the abdication of Bayonne and subsequent pleas of Fernando VII, for anything from help, clemency board to continue their imperial lifestyles, even bordering on the pity, mockery, derision and slagging of human history.

Also in these walls, representing the change of life of large masses of impoverished Spanish and operated by the crown of his country to be nouveau riche and great lords, through purchase of titles of nobility. Tahoma "> (See: October 1987 p1 R-Cam, Cam R-October 1987 p2, October 1987 R-Cam p3.)

Moreover, the technique invented Montuy, from their own research to prepare for later walls and easel work contributes to the brilliance of the colors, of course, knowing how to manage the palette that dominated Montuy.

But it also presents an undeniable strength was tested during the earthquakes of 8.1 and 7.9 respectively on the Richter scale, occurred on 19 and September 20, 1985 in Mexico City. (See: Simedc Solmdpr Aug 85, Exc entmur nov86 RPS.)

With this preparation, the walls of the side walls of the stairways of the building of the base of the city of Mexico, the fourth, but did not collapse because they were arrested by the film of the murals, instead, were only slightly marked, in less than half a meter, with a kind of relief almost imperceptible.

A point against what are often shed many of his detractors and parasites that have benefited from its reputation, saying he was not who performed the work but his aides, his work is prolific and huge mural, adding about two thousand square meters throughout his career.

People who were his assistants and they wanted to achieve fame by that fact alone, not today have come to have their strength of expression, have not mastered the colorful art far, maybe not for lack of merit, but because they had ignored biperinas languages, forgetting the simplicity and diligence, typical of the great master, in addition to the awareness of knowing that it is only path

Regarding his easel work, Montuy conducted approximately three hundred works, from gouache, watercolors, oil paintings by knife or brush and acrylic on paper or plywood made with glass fiber, various minerals and acrylic pigments.

For his work as a muralist, he only played in 9 Montuy and nine individual exhibitions in both Mexico and abroad. He also made three hundred sketches and prebocetos both of easel paintings, as murals.

His works have been discussed many times by major Mexican newspapers of the era, including Excelsior, Novedades, El Heraldo de Mexico, El Universal, One Plus One, Day and others, By national magazines as Cablescope,, gallery, for this!, Plastic Mexican And international links as Newsweek and Houston Chronicle, as well as almost every newspaper Tabasco.

Tabasco muralist was recognized by the former widow of Siqueiros, publicly and in letters at work in his personnel file, as the only worthy continuer of mural painting in Mexico, the couple of the big three. (See: AVS ATG-1 Aug 83, AVS ATG-2 Aug 83, MDI JVB AVS c Sep 83.)

His courage to express his ideas was such that, introducing the then governor of Tabasco Mario Trujillo García, a sketch of the mural titled "Our Right to Protest Cosmic" (the second all painted and submitted in the same act the first), which remains in the Normal School of Teachers of Villahermosa, Tabasco, presented a white sheet covered with paper albanene and only with your signature.

The politician asked him what was, if ever intended that there people doodle came to deface the wall or whatever I wanted, to which Montuy answered that if I had made a sketch and then was exposed to its acceptance or rejection.

Given the political consideration of what it would be drawn, in this way would be passing through the filter of censorship, which would conflict with the name of the work and Trujillo's work immediately signed authorizing its implementation.

An admirer of his work unique, Roberto Fernández Bouzas, Spanish, Mexican citizen, was given the task of acquiring a large number of easel paintings and as exhibitions in various national and some international galleries, which resold part of the work of Montuy.

This engineer promoted him during August and September 1983, three exhibitions of his easel paintings and large-format photographs of murals and serial reproduction of certain works stand in Texas.

The work was exhibited at a hotel in San Antonio, Texas, and obtained in principle, a great response from the audience, but to know that his works are a critique of consumer society, as well as injustice, ambition, greed, greed and other evils of the dominant system, the rejected, as is the custom of Americans, almost ready to burn, was rescued by her promoter.

However, in the gallery of the College of Arts and Sciences at Texas Southern University, then by Dr. Patricia Williams, as in Audrey Taylor Gallery in Houston, Texas, the play was well received and some tasters of art, decided to acquire it. (See: Hou Mag8m1sep Chr 83, Chr Mag9m1sep Hou 83.)

Subsequently, more than forty works by him (including some that were exhibited in Houston) Spanish collectors bought them. (See: No more slave than me.)

Also in Switzerland, there are also people who purchased his work. (See: man's game.) Montuy is one of the leading artists of Mexico, his work has a colorful sunset, a breathtaking dramatic power and a historical concept of the most elaborate philosophical and humanistic thoughts once assimilated.

In Tabasco, crystallized Montuy 22 murals. Of these, one of approximately 320 square meters, entitled "The Birth of Consciousness of the Universe", adorns the walls of Cencali Quality Inn Villahermosa Hotel and is presented on its website www.cencali.com as one of its main attractions. Another, titled "Inherit the Universe", 169 square meters decorates the lobby of the Congress of State of Tabasco.

Five more walls, entitled "Magic and History of Pre-Columbian Maya Universe" totaling almost six hundred square feet, provide for a masterpiece at the Planetarium in Tabasco 2000 Villahermosa, Tabasco, Mexico. (See: http://www.mexicodesconocido.com.mx/notas/5073-Villahermosa-el-coraz% F3n de Tabasco-4a. When they were not yet painted the five.)

Tahoma "> Montuy never wanted to be propaganda or resorting to means that his art was worth and when one of them approached him not rejected in principle but if they started asking questions trivial and had nothing to do with the meaning of work, politely ended the conversation.

The last seventeen years of his life worked in Tabasco and before he died and was in talks to decorate some walls Juárez Autonomous University of Tabasco, invited by the union of the same.

However, during these 17 years, Montuy work was not discussed in national media, except in rare cases, which means neither that failed to create, nor that his work left to be acquired by tasters and art collectors.

Three years after his death, on April 13, 2005, to the cultural authorities of Tabasco, where he did most of his murals, both for Mexico City, where he exhibited his work mostly and captured seven murals, as well as for federal, whose duty is to safeguard the heritage of Mexico, must be not only an obligation and an urgent task, but also an honor, contribute resources and sponsorships needed for the dissemination of his work mural and easel.

This way, enrich one of the most valuable legacies to the cultural, historic and artistic town of Tabasco, the inhabitants of large cities, the Mexican nation and all humanity.

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