Art Gallery in San Francisco. In the 1930s he created a number of sculptures which made him known for their originality of form and texture: El soldado herido (1932), La Victoria (1935), El nacimiento de Apolo (1936) and La Venus (1937) . He had two shows at the Galería de Arte Mexicano an at UNAM in 1935 and 1936. In 1946 he participated in the International Sculpture Exhibition at the Philadelphia Museum of Art, which acquired a work called Cabeza de mujer (1945). Another piece was acquired by the Museum of Modern Art in New York. His success in United States brought him back to Mexico, receiving commissions for monumental works. The first of these was El llamado de al revolución in stone, carved between 1932 and 1934. The next in a similar technique, was El esclavo, which has since been lost. Later works include the reliefs for the Benemérita Escuela Nacional de Maestros, the Monumento a los defensores de la ciudad de Puebla (1943), the Monumento a la Madre in Parque Sullivan (1948) the Nezahualcoyotl Fountain in Chapultepec Park, the pórtico for the open air theater of the Plaza Cívica of the Unidad Independencia house complex and the Tigres y Águilas sculpture at the Centro Medico Nacional of IMSS(1963). He also created sculptures for cities such as Xalapa and Acapulco. The first award for his work was a prize in sculpture from the Secretaría de Educación Pública in 1946. In 1967 he received the Premio Nacional de Artes in sculpture. In 1968 he was a founding member of the Academia de Artes and later received a diploma and medal for his teaching career at ENAP. Posthumous tributes include one in 1992 at the OMR Gallery, and a retrospective in 2011 at the Museo Casa Estudio Diego Rivera y Frida Kahlo. However, since his career, about fifteen percent of his work is missing or destroyed and much of the rest is in deteriorated condition, especially the monumental works. Artistry Ortiz Monasterio is of the generation of Mexican sculptors which includes Oliverio Martínez, Francisco Marín, Juan Cruz Reyes, Federico Cantú, Federico Canessi and Carlos Bracho, which adopted elements of Art Deco and Cubism, using figures from the working class and indigenous populations. His artistic style is characterized by the use of classical and geometric elements, along with pre Hispanic influence. There is also influence from an artist named Ivan Mestrock, a