July gallon was a Mexican painter of contemporary art. Naciel December 5, 1959 in Mzquiz, Coahuila and fallecipor a stroke on August 4, 2006 in Zacatecas, Mexico. Estudila studying architecture at the University of Monterrey, which dejinconclusa to finally devote himself exclusively to painting. Radicla most of his life in Monterrey, adnde study comes from nine years of age. Was rent in New York and Europe. Realizgran number of solo exhibitions. At twenty years old in 1979, won second prize winner of painting Monterrey Centro de Arte Vitro. His first individual gallery in Monterrey is Guillermo Sepulveda, the Galera Arte Actual Mexicano, since 1980. July gallon stands out for having renovated the landscape of Mexican plastic the years eighties of the twentieth century. The work of Julio gallon errneamente is related to that of Frida Kahlo, because narcissism and surrealism that predominates in his work. Gallon's work is characterized by returns to the nationalism, the Mexican free idealizacin ideal, brought to a reality that touches the drama, humor, sarcasm and the everyday, but with a heavy load of vanity, dashed thick, opaque and deep questioning of the "I" are integral to his work. Luis Carlos Emerich in the catalog of the exhibition that presented the Galera Enrique Guerrero in 1998 said on July gallon, and secondly, to rule out the symbolic value of the image so cones or toys or pains and pleasures of arcn extrados of nostalgia, as a joke tender but black on the normative values and their real inability to channel the irrational powers. Gallon in July was considered the NIO terrible of Mexican painting, as art criticism calificla Argentina Ana Mara Battistozzi. Gallon in the works we can see, besides its own story-a story intimate and personal, the multiple forms it takes the subjectivity in its constitution and the emergence of the body as subject and object of discourse and desire. Gallon exhibited in his works a Mise en abyme where Through his images, reflecting each other, set of mirrors confronted (faced), sumergial spectator in his own "insanity", his narcissistic game , which so exacerbated by modems, epochal ethos reflect it, because in the twentieth century postrimeras the body became an object of worship, love, passion, the body becomes , gets dressed, take care, be re-introduced, the most of the time as an allegory of the conflicts that the individual has with the "other", being then this re-presentation as a symbol peaked of sexual emancipation (the genre), race, religious ideologies, a defense to individuality, to be universal, unique and without binaries. Artist gallon, gallon picture, both overlap, representing the painter's canvas smismo representation that was built and mostrsocialmente: a masquerade. In many of the catalogs of its exhibitions, such as galleys Ramis Barquet in New York, Thaddaeus Ropac in Paris, Timothy Taylor in London and performed for Serfn Financial Group in 1993, including photographs of the operator, which can ratify this afn of representation. Tightly controlled, planned, without removing the Merit and intervention work of the photographers, the scenes show a very similar disposicin how realizsus pictorial compositions. Are not random, there are a whole stas narrative, theatricality, their private fantasies recreated in front of the camera lens. In the catalog of Serfn, by way of presentation, including two full page images of where gallon, half-naked and carrying a pair of dark wings, the river seems to arise in has ed as expensive survivor. In the cover of the catalog, at the later, this expensive is kneeling on the banks of the river that reflects their image, now that does not succumb Narciso's death, a blindfold covering his eyes preventing the possibility of recognition. Generally gallon costume incluyelementos glam, gothic, exotic, from the paint on his face after the manner of Boy George, the nails painted in black or white, thick chain and padlock around his neck, excessive jewelry from rings with large colored stones, large necklaces, to crucifixes, scarves, pins in her hair, hats in a variety of ways, some even a wader dissected, all this combined with designer suits and shoes singular, not to mention the objects that usually carry in their hands and also represent his paintings, dolls, boxes, even a handbag shaped horse, resulting in a character that visual impact causing "extraamiento, a shock that produces squico surprise the viewer by the unexpected, different, out of the ordinary, common place to get out of the everyday, whether travs of "singularizacin" to endorse the re-use codes and personally, by association techniques, personal and unique aspects of reality that are not usually associated, and the "dark or form obstruent (in this case singularizacin) is carried to extremes, as if they built the artistic work for s, jeopardizing the entire experience and knowledge, validating both gallon, not only in the presentation of his costume, especially in the construction of their works , managed to extend the time for extending the duration of the perceptive impact. It may be that in the end, gallon has achieved its goal to show his work and he exposed himself in a steady performance, showing a subversive representation which highlights the contingency, where everything is and lets see is not ASLA getting anulacin of differences, the imposition of his desire. Make life itself a work of art has been for many a way to open (se) spaces. From the dandy, style has always been more than content. Painting specious and subversive because adiccin, which repeats its themes and transforms them beyond recognition, the mixture gallon works with grace and wisdom, myths and national references, theater and sincerity and transparency transformism, Mexican writer Carlos Monsivis escribiel on the painter in the catalog of the exhibition Golden powerful. In 2007 the Museum of Contemporary Art of Monterrey pstumo pays homage to the exhibition T Thinking gallon in July, which displays over 100 works, photographs and objects which belongs to polmico artist.