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Madero and Sdarez Shot to Prison
--—1 A. i CAVALRY IN FRONT OF THE NATIONAL PALACE MMIfiwww THE MORRIS CO. CHRONICLE r k 1 nw A Thdr Arriral- !; ■ TT C ■ ■■■■ -— ■■■■»■■■-! MILITANTS PUN f < "I & SURDAM, Publishers. MADERO AND PIEHSON SDAREZ SHOT | MAIL J and Departure J* *Mm MORRISTOWN N. J. ATTACK ON KING DEAD ON WAY TO PRISON for Dispatch England Is In acute need of elastic British Royal Family in Fear Tim* of Closing of M»ll» window glass. at P. O., Morristown. , of * Suffragettes «.0« A. It. Now York and ba- skirted wom- The President ol Mexico and His Yice-Pres:d3nt Die De- Newark, However, as for hobble Deposed yond, and Whlppany. ’’ York en, how can she expect to "win In a T.f* s K. P. O. sast. Now and bsyond. walk?” on a " Including fenceless Ride from Palace to TERROR ■ M a R. P. O. west. Midn'git Penitentiary, NATION IS IN GREAT all Western states. Ill " *a New Jersey & Penn R. *» A Peruvian aviator to fly " proposes and the Whole Civilized World Stands 9.60 • Mt. Freedom. over the Alps. In a Peruvian bark, Aghast 9.66 Newark, New York and be- Two Women Are Captured—Throw* yond. probably. i 10.10 • Whlppany. When Ar- •• Books at Magistrate 1S.M a N. Y., Scranton A Buffala, K. P. O. including Dover, "Bashi-baxoukesses" may fit the raigned—Their Act Is Highly * Rookaway, Boonton, Wnar crime, but it’s altogether too hard to Vandals. ton, Succasunna, o Central GUARDS SAY THEY TRIED TO “ESCAPE” Applauded by Branch and all stations pronounce. -
PHOTO Libraryinc. 305 EAST F O R T Y-S E V E N T H STREET • NEW YORK 17 • PL 2-4477 October 5> 1966 Miss Laura Gilpin P‘O
PHOTO LIBRARYinc. 305 EAST F O R T Y-S E V E N T H STREET • NEW YORK 17 • PL 2-4477 October 5> 1966 Miss Laura Gilpin P‘O. Box 1173 Santa Fe, New Mexico Dear Miss Gilpin: One of our clients is anxious to obtain as quickly as possible illustrative material, both in color and black and white, for a forthcoming book on Mexican art and architecture. I’m enclosing a list that you can use. as a guide; as you can see, our client Is most specific. Do you think you can mail us some of your photographs? We are looking forward to hearing from you. Very truly yours 1) Head of a coyote. Tequixquiac, Mexico State. About 10,000 B.C. 2) Small Seated Statue. Cairo de las Mesaas , Veracruz State. 300-800 A.D. Institute Hacional de Antropoligia e Historia, Mexico City. 3) Olmec Dwarf, and Mara Glyph. Cairo de las Mesaas, Veracruz State. 300-800 A D Institute Hacional de Antropologia e HLstorla, Mexico 6ity. 4) Head of a young Maya. Palenque, Chiapas State. Jgbout 683 A D Institute Hacional de Antropologia.....Mexico City 5) Facade of the Codz-Pop Building. Cabah, Tucutan State. 800-1200 A D 6) Temple of the Warriors. Chichen Itza, Yucatan State 800-1200 A D 7) Entrance to the Temple of the Warriors (see above for location) 8) Great Bail Court. Chichen Itza.... 9) Temple of Venus, with the Castillo in the background, Chichen Itza.... 10) Bearded ’Dancer*. Monte Alban, Oaxaca State. 200-100 B.C. 11) Zapotec Urn. -
Gallery of Mexican Art
V oices ofMerico /January • March, 1995 41 Gallery of Mexican Art n the early the 1930s, Carolina and Inés Amor decided to give Mexico City an indispensable tool for promoting the fine arts in whatI was, at that time, an unusual way. They created a space where artists not only showed their art, but could also sell directly to people who liked their work. It was a place which gave Mexico City a modem, cosmopolitan air, offering domestic and international collectors the work of Mexico's artistic vanguard. The Gallery of Mexican Art was founded in 1935 by Carolina Amor, who worked for the publicity department at the Palace of Fine Arts before opening the gallery. That job had allowed her to form close ties with the artists of the day and to learn about their needs. In an interview, "Carito" —as she was called by her friends— recalled a statement by the then director of the Palace of Fine Arts, dismissing young artists who did not follow prevailing trends: "Experimental theater is a diversion for a small minority, chamber music a product of the court and easel painting a decoration for the salons of the rich." At that point Carolina felt her work in that institution had come to an end, and she decided to resign. She decided to open a gallery, based on a broader vision, in the basement of her own house, which her father had used as his studio. At that time, the concept of the gallery per se did not exist. The only thing approaching it was Alberto Misrachi's bookstore, which had an The gallery has a beautiful patio. -
Paradores & Pousadas
PARADORES & POUSADAS HISTORIC LODGINGS OF SPAIN & PORTUGAL April 5-19, 2018 15 days for $5,178 total price from Dallas-Fort Worth ($4,495 air & land inclusive plus $683 airline taxes and fees) This tour is provided by Odysseys Unlimited, six-time honoree Travel & Leisure’s World’s Best Tour Operators award. An Exclusive Small Group Tour for Alumni, Parents, and Friends of Texas Christian University Dear TCU Alumni, Parents, and Friends, Join us on a special 15-day small group journey to discover the best of the Iberian Peninsula in Portugal and Spain. Our special two-week journey offers captivating sights, excellent cuisine, and memorable experiences. We begin in Lisbon, where our touring includes iconic Belém Tower, then see the National Palace of Queluz. Next, we visit the Alentejo region, staying in charming Evora – a UNESCO World Heritage site – in one of Portugal’s finestpousadas . Crossing into Spain, we visit Mérida, which boasts outstanding Roman ruins. Then, we enjoy Seville, the UNESCO World Heritage site of Cordoba, and Granada’s extraordinary Alhambra and Generalife Gardens. Our group explores Toledo, Spain’s medieval capital, concluding our tour in sophisticated Madrid. Space on this exclusive TCU departure is limited to a total of just 24 guests and will fill quickly. We encourage you to reserve your place quickly. Frog for Life, Kristi McLain Hoban ’75 ’76 Associate Vice Chancellor, University Advancement Phone: 817-257-5427 [email protected] TCU RESERVATION FORM – PARADORES & POUSADAS Enclosed is my/our deposit for $______ ($500 per person) for ____ person(s) on Paradores & Pousadas depart- ing April 5, 2018. -
David Alfaro Siqueiros's Pivotal Endeavor
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-15-2016 David Alfaro Siqueiros’s Pivotal Endeavor: Realizing the “Manifiesto de New York” in the Siqueiros Experimental Workshop of 1936 Emily Schlemowitz CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/68 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] David Alfaro Siqueiros’s Pivotal Endeavor: Realizing the “Manifiesto de New York” in the Siqueiros Experimental Workshop of 1936 By Emily Schlemowitz Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History Hunter College of the City of New York 2016 Thesis Sponsor: __May 11, 2016______ Lynda Klich Date First Reader __May 11, 2016______ Harper Montgomery Date Second Reader Acknowledgments I wish to thank my advisor Lynda Klich, who has consistently expanded my thinking about this project and about the study of art history in general. This thesis began as a paper for her research methods class, taken my first semester of graduate school, and I am glad to round out my study at Hunter College with her guidance. Although I moved midway through the thesis process, she did not give up, and at every stage has generously offered her time, thoughts, criticisms, and encouragement. My writing and research has benefited immeasurably from the opportunity to work with her; she deserves a special thank you. -
Kingdom of the Monarchs Mexico Tour
For More Information Contact See More Tours at Cynthia Marion - 214.497.4074 www.travelphiletours.com KINGDOM OF THE MONARCHS MEXICO TOUR Benefiting Wimberley’s EmilyAnn Theatre & Gardens Friday February 9-Thursday February 15, 2018 7 Days / 6 Nights LEAVING FROM WIMBERLEY Enjoy our exciting ecological and cultural adventure. Fall in love with the Monarchs as you spend 2 days including Valentines day with tens of millions of Monarch butterflies! Experience one of the world’s most astounding natural events featuring the delicate Monarch at two different sanc- tuaries in Mexico where they “winterize” prior to making a remarkable springtime 3,000 mile journey to the northeastern US and Canada. Along the way we’ll take a boat ride with a local birding expert through floating gardens and canals of Xochimilco and explore Coyoacán, one of the most well preserved colonial areas of Mexico City to experience the art and culture of artists Frida Kahlo and Diego Rivera. Day 1 Texas to Mexico City Friday February 9 Depart Texas for Mexico City and the wonders that await. Upon arrival, we’ll transfer to our 4 ½ Star Tripadvisor rated hotel where you’ll have free time to get settled in your hotel room. We gather this evening for a welcome dinner at the award-winning Taberna del Leon. (D) Hotel: Paraiso See More Tours at For More Information Contact www.travelphiletours.com Cynthia Marion - 214.497.4074 Day 2 Mexico City Saturday February 10 Breakfast. Leave for one of the best handicrafts market in all of Mexico, Bazaar Del Sabado in San Angel. -
Jazzamoart El Estado Chileno No Es Editor
EXCELSIOR MIÉrcoles 27 DE MAYO DE 2015 Foto: CortesíaFoto: INAH PATRICIA LEDESMA B. TEMPLO MAYOR, NUEVO TIMÓN La arqueóloga Patricia Ledesma Bouchan fue designada ayer como nueva titular del Museo del Templo Mayor, en sustitución de Carlos Javier González. Así lo anunció el Instituto Nacional de Antropología e Historia mediante un comunicado, en el que destacó su labor en temas relacionados “con la gestión del patrimonio arqueológico y la divulgación del conocimiento científico”. [email protected] @Expresiones_Exc Foto: Cortesía Nuria Gironés El Estado chileno no es editor “Chile tiene que hacerse cargo de un problema estructural que se arrastra desde la dictadura militar (1973-1990), cuando se destruyó el tejido cultural por la censura”, dice en entrevista Marcelo Montecinos, presidente de la Cooperativa de Editores de La Furia. >4 Reaparece Jazzamoart Una obra de carácter vibrante, que a ritmo de pinceladas “se hace lumínica y cromática”, es lo que ofrecerá el pintor y escultor mexicano Francisco Javier Vázquez, mejor conocido como Jazzamoart, Revelan la trama acerca de la sustracción, en 1904, del llamado en su exposición Improntas, que M A PA se presenta a partir de ayer en el Lienzo de Tlapiltepec, patrimonio “extraviado” de México > 5 Museo Dolores Olmedo. >6 Foto: Cortesía Fundación Alfredo Harp Helú Oaxaca FOTOGALERÍA ESPECIAL Exposición Visita MULTI Galería Throckmorton Recintos celebran ¿Qué me pongo? MEDIA Exhiben en Nueva York imágenes Recomendaciones para Marcelino Perelló. 2 poco comunes de Frida Kahlo. la Noche de los Museos. 2: EXPRESIONES MIÉRCOLES 27 DE MAYO DE 2015 : EXCELSIOR ¿Qué me pongo? PALACIO DE CULTURA BANAMEX MARCELINO PERELLÓ El desastre que viene Retorna La jungla sudamericana no es únicamente el pulmón de la Tierra. -
Morton Subastas SA De CV
Morton Subastas SA de CV Lot 1 CARLOS MÉRIDA Lot 3 RUFINO TAMAYO (Quetzaltenango, Guatemala, 1891 - Ciudad de México, 1984) (Oaxaca de Juárez, México, 1899 - Ciudad de México, 1991)< La casa dorada, 1979 Mujer con sandía, 1950 Firmada a lápiz y en plancha Firmada Mixografía 97 / 100 Litografía LIX / LX Procedencia: Galería del Círculo. Publicada en: PEREDA, Juan Carlos, et al. Rufino Tamayo Catalogue Con documento de la Galería AG. Raisonné Gráfica / Prints 1925-1991, Número 32. México. Fundación Olga y "Un hombre brillante que se daba el lujo de jugar integrando todos los Rufino Tamayo, CONACULTA, INBA, Turner, 2004, Pág. 66, catalogada 32. elementos que conocía, siempre con una pauta: su amor a lo indígena que le dio Impresa en Guilde Internationale de l'Amateur de Gravures, París. su razón de ser, a través de una geometría. basado en la mitología, en el Popol 54.6 x 42.5 cm Vuh, el Chilam Balam, los textiles, etc. Trató de escaparse un tiempo (los treintas), pero regresó". Miriam Kaiser. $65,000-75,000 Carlos Mérida tuvo el don de la estilización. Su manera de realizarlo se acuñó en París en los tiempos en que se cocinaban el cubismo y la abstracción. Estuvo cerca de Amadeo Modigliani, el maestro de la estilización sutil, y de las imágenes del paraíso de Gauguin. Al regresar a Guatemala por la primera guerra mundial decide no abandonar el discurso estético adopado en Europa y más bien lo fusiona con el contexto latinoamericano. "Ningún signo de movimiento organizado existía entonces en nuestra América", escribe Mérida acerca del ambiente artístico que imperaba a su llegada a México en 1919. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Re-Conceptualizing Social Medicine in Diego Rivera's History of Medicine in Mexico: The People's Demand for Better Health Mural, Mexico City, 1953. Permalink https://escholarship.org/uc/item/7038q9mk Author Gomez, Gabriela Rodriguez Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Re-Conceptualizing Social Medicine in Diego Rivera's History of Medicine in Mexico: The People's Demand for Better Health Mural, Mexico City, 1953. A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Gabriela Rodriguez-Gomez June 2012 Thesis Committee: Dr. Jason Weems, Chairperson Dr. Liz Kotz Dr. Karl Taube Copyright by Gabriela Rodriguez-Gomez 2012 The Thesis of Gabriela Rodriguez-Gomez is approved: ___________________________________ ___________________________________ ___________________________________ Committee Chairperson University of California Riverside Acknowledgements I dedicate my thesis research to all who influenced both its early and later developments. Travel opportunities for further research were made possible by The Graduate Division at UC Riverside, The University of California Humanities Research Institute, and the Rupert Costo Fellowship for Native American Scholarship. I express my humble gratitude to my thesis committee, Art History Professors Jason Weems (Chair), Liz Kotz, and Professor of Anthropology Karl Taube. The knowledge, insight, and guidance you all have given me throughout my research has been memorable. A special thanks (un agradecimiento inmenso) to; Tony Gomez III, Mama, Papa, Ramz, The UCR Department of Art History, Professor of Native North American History Cliff Trafzer, El Instituto Seguro Social de Mexico (IMSS) - Sala de Prensa Directora Patricia Serrano Cabadas, Coordinadora Gloria Bermudez Espinosa, Coordinador de Educación Dr. -
Cultural Management in the National Palace of Mexico: Use and Heritage Conservation
Ge-conservación Conservação | Conservation Cultural management in the National Palace of Mexico: use and heritage conservation Lilia Teresa Rivero Weber Abstract: Conservation of Mexico National Palace is a complex labor, since implies the preservation, not only of the material aspects of the building and the objects contained within, but also all the immaterial values reflected on the walls of the structure that mirrors the historic continuity of Mexico and therefore part of the national identity. Due these conditions, National Palace is in our days the most emblematic and symbolical government building of the country. In order to preserve the monument, a comprehensive conservation-cultural management program has been developed and implemented, considering operational aspects of the monument management, that is also part of the cultural infrastructure of Mexico City, since this historical complex attracts around 340 000 visitors each year. In addition, among the Conservator´s Office strategy has been to promote collaboration between different actors involved with the use, operation and conservation of the monument, in which are included external governmental offices and academic institutions, both national and international. This collaborative approach has been crucial in order to implement the Management Program for the conservation of the monument. Key words: Cultural Management, Preventive Conservation, Strategic Planning. Gestión cultural en el Palacio Nacional de México: uso y conservación del patrimonio Resumen: La conservación del Palacio Nacional de México representa una labor compleja, ya que no solo contempla los aspectos materiales del edificio y los objetos contenidos en éste, sino que también todos los aspectos inmateriales del inmueble y que muestran la continuidad histórica de México, y por lo tanto, del desarrollo de la identidad nacional. -
6Th Grade Unit Plans
HORIZON 6th GRADE ART Overarching Concept: CONNECTIONS Essential Question: How does art connect to the world around me? ------------------------------------------------------------------------------------------------- -Eye Self-Portrait How does art connect to the world around me? Students will begin art by practicing drawing a realistic eye in their sketchbook using at least five values with a pencil. They will continue by experimenting with blending colored pencils to create depth and realism. Students will create a self-portrait using their eye of any style to represent their identity. Students will use symbols, patterns, words and designs to express what makes them unique. Focus Question: How does art connect to the world around me? What is a self-portrait? How can I use symbols to express myself? Donut Oil Pastel Artwork How does art connect to the world around me? Students will create a realistic donut artwork using shading, blending and value with oil pastels. Students will investigate the American Pop Art style by analyzing the artwork of Wayne Thiebaud. Focus Question: How can I use blending and shading to create realism? What is Pop-Art? Academic Vocabulary: Pop Art, “to scale”, shading, blending, value, realism, highlight, repetition, unity, emphasis, evaluate, compare, contrast, Daily Art History and Art Criticism Sketchbook Assignments: Students will sketch, describe, analyze and critique a variety of artists and art forms from a broad cultural context. Students will also use their sketchbooks to practice and explore a wide variety of art techniques. ARTISTS: Frida Kahlo, Vincent Van Gogh, Wayne Thiebaud, Claes Oldenburg, Elizabeth Catlett, Auguste Rodin, Keith Haring, Expressive Figure Sculptures Focus Question: What is it like to be a young person in the 21st century? How can the human body show expression? What is proportion? How can I create a 3-D work of art that has balance? Academic Vocabulary: Proportion, sculpture, figure, evaluate, paper mache, expression, balance, Action Figure Paintings Ceiling Tile Designs . -
Diego Rivera
Diego Rivera • December 8, 1886 - November 24, 1957 • Diego Rivera was born in Guanajuato, Mexico to a wealthy family • Diego was a prominent Mexican painter and the husband of Frida Kahlo (another famous artist) Early Years • Rivera began drawing at the age of three. • Parents caught him drawing on the walls! • Rather than punishing him, they installed chalkboards and canvas on the walls of their house....way to go mom and dad! His Education • He went to the San Carlos Academy of Fine Art in Mexico City • And furthered his education in Europe in 1907 • while in Europe, he became friends with several famous artists, including Pablo Picasso and Marc Chagall!! His style... • when his career began, the main focal point behind his work was to depict the lives of Mexico and its people. • In 1921, working with the government, he began work on a series of murals, that were located in public buildings. Murials.... • Between 1922 and 1953, Rivera painted murals ... in Mexico City, San Francisco, Detroit, and New York City. • In 1931, a retrospective exhibition of his works was held at the Museum of Modern Art in New York City. • Diego Rivera married Frida Kahlo in 1922 • He was 42 and she was 22! • She too was an artist and was very influenced by Diego and his work Let’s talk art... Let’s Talk Art! • How was this work made? (what materials) • Is there anything “special” about how the artist used the materials? • Can you tell WHERE the artist is from by looking at the painting? or a time period? Let’s Talk Art! • What makes this artist special? •