By Luis Felipe Rodriguez
Genaro Almanza Ríos (1920-2010), was born in San Miguel de Allende on December 2, 1920. He attended the seminary of San Francisco de Sales with the Oratorian fathers, where he studied Latin, philosophy, and theology for seven years. But he was forced to leave the school because of his parents’ delicate state of health. When that happened, Father Toñito Bustamante comforted him by saying, “Don’t be sad, Genarillo, that’s because God has reserved you for the decoration of his church.”
He became a maker of religious images. “No, well, I did study for Papa…but I came out being very busy,» he said smiling. Genaro is the central character in a book titled “Tears from the Crown of Thorns, Holy Week in San Miguel,” written by Charlotte Bell. She states that “…most of the religious statues of Mexico do not have any names of the artists associated with them. They were made in small workshops by a teacher and his assistants. They were not signed, which indicates the humbleness of the craftsman.” Bell was impressed by the sculptures she saw and sought out the artist, and upon meeting him she said, “Mr. Almanza has the intensity and presence of someone with great strength and passion for his work. He is also someone with great faith, which became evident as I talked to him. His manner is very direct and yet very kind.”
According to Samuel Rangel, in San Miguel, “a school for image-makers was created, administered by Estanislao Hernández.” Genaro’s entire family has continued the tradition, to the pride of his wife, Amelia Arvizu Zarazúa. A daughter, María de los Ángeles, enrolled in the Autonomous University of Querétaro (UAQ) to deepen her scientific knowledge of the restoration secrets that she first received from her father. Today, she shares this knowledge with her colleagues at the famous workshop. Sons Miguel and Antonio work as sculptors, the latter in the city of Río Verde, San Luis Potosi. Their students have successfully participated in painting and sculpture events. Daughters Patricia and Lilia María work as restoration painters and gold leaf specialists.
In the Oratory church is where we find most of Genaro Almanza’s legacy. There are statues of Santa Cecilia, Dolorosa, San Martín de Porres, and the beautiful large angels that are part of the Holy Burial. Genaro’s first work is the captivating work at the entrance of the church: the Lord of Wonders.
Genaro was always generous imparting his knowledge; he opened the doors of his workshop to share in the art and to continue it. His fame as a sculptor and restorer reached far, and there are many works for which he never had an inventory. We know that the following have remained in the city: the Ecce Homo of La Salud church, the Virgin of the Three Hail Marys, commissioned by R.P. Benjamin, and several other works. He was responsible for the gilding of the beautiful urn of the Lord of the Holy Burial, and as an assistant, he had Dr. Juan Antonio Ruiz Vázquez.
During Lent he would hold a sacred art contest. Some of the winners were: José Luis López Arriaga with a Christ, and Eufemio Rodríguez Sánchez with an altar for the church of Christ the King. To support the carpenters, he gave a sculpture of San Jose every year, to be raffled off, with the profits to be used for their party in March. With the support of Carmen Masip, director of Bellas Artes, he made an offering at the cultural center. He dedicated his first offering to Ignacio Ramírez. Other figures which he represented as an annual offering were Mother Josefa Lina, Juan Benito Díaz de Gamarra, Father Mojica, etc. He also decorated catrinas.
He lashed out at foreigners who did not respect San Miguel traditions and called them “foreign upstarts.” He insisted, almost desperately: “We must teach! Don’t lose the traditions!» He had many students in his workshop: Lorenzo Huerta Valdez and his wife Juana, Luis Antonio López Torres, Filemón Ramos, Rodolfo Cázares Hernández, and Hermes Arroyo. He worked tirelessly and was friendly and talkative. He loved the traditions of his native land whether it was celebration of births, parades, altars, offerings, alfeñiques, masks, mojigangas, or cardboard figures. He loved the Corpus Christi, the Paseo de Sanmiguelito, the posadas, and the Sanjuaneros.
Luis Antonio López said that his life was a step towards what was his vital purpose: “I have to give back to my people, what my people have taught me.” “Teach, teach,” he constantly told his students. He also said that teaching “doesn’t make the student surpass me, because if that student is grateful, when asked who taught you, he will know how to answer: Don Genaro taught me.”
Taken from the book: “Los Imagineros Sanmiguelenses” and for sale in “El Iris.”
