Monographic number dedicated to the life and art of sculptor Ignacio Asúnsolo (b. Durango 1890-1965), whose production spans from academic naturalism to nationalist official public art and monuments such as: Monument to President Alvaro Obregón (1933), "La Familia Proletaria (1934), and the Monument to Francisco Villa (1957) amongst other urban landmarks in Mexico City. Asúnsolo started sculpting since he was six years of age. At 18, he joined the former Academia de San Carlos. In 1919, he moved to Paris where he meets sculptor Aristide Maillol at L' École of Beaux Arts and athough in contact with the European avant-garde when returning to Mexico in 1921 his sculptures were still neoclassic and strongly influenced by Mexican Pre-Columbian art. "Although traditionally brilliant, his work paradoxically served the revolutionary ideology and the objectives of nationalist governments" (Our translation)--Pages 8. The essays by Raquel Tibol was originally published in the catalogue of the anthological exhibition "Igancio Asúnsolo escultor, 1890-1965" (MUNAL, 1985).