Antonio Peláez

He continued his art studies at Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda", where he met other artists who influenced his work, if not directly, then through conversations and other contact.

[3] In 1942, he created a series of self-portraits and a decade later he published a book with the portraits of twenty Mexican women including Inés and Carolina Amor, Lola Alvarez Bravo, Frida Kahlo, María Asúnsolo, Lupe Marín and Dolores del Río.

Although compared to those done by Manuel Rodríguez Lozano and Juan Soriano, Octavio Paz noted that the teenaged painter was not impressed with the dominant artistic trends in Mexico at the time (such as Mexican muralism) and who work did not show influence from it.

[6][7] Influences on Peláez's work include Nicolas de Staël and Antoni Tàpies[3] but it was contact with the person and art of Rufino Tamayo that prompted the artist to gradually abandon figurative painting during the 1950s.

[1][6] Instead, Peláez became interested in texture, tact and space, with elements such as sand, rocks suns, phases of the moon, spheres, curs with colors such as ochre and yellow and especially white.