1961, both at the Palacio de Bellas Artes. He also participated in the 20 siglos de arte mexicano exhibition at the Museum of Modern Art, Arte mexicano, de los precoolumbinos hasta nuestros días, at the Musée d'Art Moderne de la Ville de Paris in 1952. As an engraver he produced an album called Estampas de México in 1949 and several vignettes for publications such as Ruta, El hijo pródigo, Frente a frente, Artes del libro and Artes de México. He contributed to the book La ciudad de México in 1957 with a linoleum engraving of the Ciudad Universitaria. In addition to membership in the Salón de la Plástica Mexicana, he was also a member of the Liga de Escritores y Artistas Revolucionarios and was a founding member of the Sociedad Mexicana de Grabadores, in 1947. During his lifetime he did not receive full recognition for his work, included from himself. The only notable award was the adquistion prize from the Salón Anual de Pintura in 1957 of the Salón de la Plástica Mexicana. In 1984, shortly after his death, the Lourdes Chumancero Gallery held an exhibit in his honor. Later in 2011, another was held at the Museo de Arte e Historia in Guanajuato. Pita Amor wrote a poem about him and his work, and in 1999, art critic Raquel Tibol published a book on Peña’s life called Feliciano Peña. De la honradez y el arraigo professional''. Artistry Peña´s first influences were his teachers in Tlalpan, Díaz de León and Kitagawa. His early production was somewhat primitive but with a sense for drawing and color. As a printmaker/engraver, he worked in relief and photogravure and grain wood. He created few color prints but was very prolific in black-and-white. He is best known for his landscape painting even though he did portraits, still lifes and human figures. His style is a faithful representation of nature, without distortion of form or light. His representation is more "classical" than that of Impressionism, done in clean luminous colors with attention given to volume. One of his influences was José María Velasco, with a similar perspective painting valleys, gulleys, groves and observations points. Raquel Tibol stated, "Feliciano Peña did not want to possess nature but rather to understand it in a dimension that would be apprehensible both physically and mentally." References 20th-century Mexican painters Mexican male painters Mexican sculptors Male sculptors Mexican engravers Mexican muralists