DOCSLIB.ORG

Translating Revolution: U.S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Translating Revolution: U.S A Spiritual Manifestation of Mexican Muralism Works by Jean Charlot and Alfredo Ramos Martínez BY AMY GALPIN M.A., San Diego State University, 2001 B.A., Texas Christian University, 1999 THESIS Submitted as partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History in the Graduate College of the University of Illinois at Chicago, 2012 Chicago, Illinois Defense Committee: Hannah Higgins, Chair and Advisor David M. Sokol Javier Villa-Flores, Latin American and Latino Studies Cristián Roa-de-la-Carrera, Latin American and Latino Studies Bram Dijkstra, University of California San Diego I dedicate this project to my parents, Rosemary and Cas Galpin. ii ACKNOWLEDGEMENTS My committee deserves many thanks. I would like to recognize Dr. Hannah Higgins, who took my project on late in the process, and with myriad commitments of her own. I will always be grateful that she was willing to work with me. Dr. David Sokol spent countless hours reading my writing. With great humor and insight, he pushed me to think about new perspectives on this topic. I treasure David’s tremendous generosity and his wonderful ability to be a strong mentor. I have known Dr. Javier Villa-Flores and Dr. Cristián Roa-de-la-Carrera for many years, and I cherish the knowledge they have shared with me about the history of Mexico and theory. The independent studies I took with them were some of the best experiences I had at the University of Illinois-Chicago. I admire their strong scholarship and the endurance they had to remain on my committee. I am grateful to them, and I look forward to reading their future books and articles. I am delighted to have met Dr. Bram Dijkstra in San Diego. Bram has a profound understanding of American art in Southern California. It was an honor to have him serve on my committee, and I look forward to future conversations about the art produced in the region we both call home. Many friends, family, and colleagues made the completion of this project possible. I would like to recognize the support of Donna Korey, Margaret Denny, Catherine Burdick, Bronwen Solyom, John Charlot, Lisa Banks, and Margarita Nieto. Thanks to Jennifer Faletto and Jon Galpin for their invaluable feedback. I would like to extend gratitude to my colleagues at The San Diego Museum of Art, including Dr. John Marciari, Dr. Ariel Plotek, Alexander Jarman, Amy Britt, and Gwen Gómez. I am particularly grateful for Gwen’s editing prowess and the positive energy she exuded just when I needed it. Most of all, I would like to thank Dr. Julia iii ACKNOWLEDGEMENTS Marciari-Alexander, who always believed that I would finish. Julia’s encouragement and advice in all art matters have proven to be vital. Finally, I would like to acknowledge my husband Russell Petty, who supported me throughout this process and whose patience knows no bounds. AKG iv TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION ........................................................................................................... 1 A. Literature Review and Research ................................................................................. 7 B. Frameworks for Analysis .......................................................................................... 19 C. Cultural Context in Mexico ...................................................................................... 24 D. Setting the Scene in the United States ...................................................................... 27 E. Outline of the Dissertation ........................................................................................ 33 F. Conclusion ................................................................................................................ 35 II. JEAN CHARLOT ........................................................................................................ 37 A. Early Biography ....................................................................................................... 38 B. Shifting Roles: New Professional Directions for Charlot ........................................ 59 C. Charlot and His Peers ............................................................................................... 74 D. Charlot and Scholarship ........................................................................................... 76 E. Charlot and the Mexican People ............................................................................... 82 F. Romantic Mexico and Beyond .................................................................................. 87 III. CHARLOT AND RELIGIOUS ART ....................................................................... 123 A. Charlot and Large-Scale Religious Works in the Midwest .................................... 124 B. Religious Commissions in Hawai‘i ........................................................................ 138 C. Other Religious Connections .................................................................................. 151 D. The Resonance of His Earlier Religious Prints ...................................................... 157 E. Cartoons, Cards, and Posters: The Religious Ephemera of Charlot ....................... 160 F. Conclusion .............................................................................................................. 165 IV. ALFREDO RAMOS MARTÍNEZ ........................................................................... 206 A. Early Biography ..................................................................................................... 207 B. Ramos Martínez and the Open Air Schools ........................................................... 218 C. Murals for Ensenada, Mexico ................................................................................. 225 D. Santa Barbara ......................................................................................................... 234 E. Mary, Star of the Sea .............................................................................................. 237 F. La Avenida Café ..................................................................................................... 239 G. Scripps College ....................................................................................................... 242 H. Other Works ........................................................................................................... 243 v TABLE OF CONTENTS CHAPTER PAGE I. Reception of Works ................................................................................................. 248 J. Educating Others ..................................................................................................... 251 K. Conclusion .............................................................................................................. 259 V. CHARLOT AND RAMOS MARTÍNEZ AND A UNITED ARTISTIC VISION ... 289 A. Faith and Mexican Modernism ............................................................................... 290 B. Religious Context ................................................................................................... 297 C. Shared Subjects ....................................................................................................... 309 D. Quest for Social Justice and Religious Implications .............................................. 312 VI. CONCLUSION......................................................................................................... 329 CITED LITERATURE ................................................................................................... 341 VITA ............................................................................................................................... 351 vi LIST OF FIGURES FIGURE PAGE 1. Jean Charlot, Untitled (wood carving), c. 1918 ........................................................... 97 2. Bataille des pyramides, an example of Images d’Epinal ............................................. 98 3. Jeux de l’enfance, an example of Images d’Epinal ...................................................... 99 4. José Guadalupe Posada, Nuestra Señora de San ......................................................... 100 5. Jean Charlot, Les blessés au travail, 1918 .................................................................. 101 6. Jean Charlot, Massacre at the Main Temple, 1922–3 ................................................. 102 7. Jean Charlot, Dance of the Ribbons, 1923 .................................................................. 103 8. Jean Charlot, The High Comb, Yucatán, 1935 ........................................................... 104 9. Jean Charlot, Head, Crowned with Laurels, 1934–5 .................................................. 105 10. Jean Charlot, Cotton Gin, 1942................................................................................ 106 11. Artist Unknown, Charlot working on a mural with students, c. 1941 ..................... 107 12. Jean Charlot, Time Discloseth All Things, Cortes Lands in Mexico, and Paratroopers Land in Sicily (detail), 1944 ................................................................. 108 13. Jean Charlot, Time Discloseth All Things, Cortes Lands in Mexico, and Paratroopers Land in Sicily (detail), 1944 ................................................................. 109 14. Jean Charlot, Mexican Kitchen, 1948 ....................................................................... 110 15. Jean Charlot, Woman (Profile), 1949 ......................................................................
Load more

Recommended publications
  • Ill PROFMEX·ANUIES International Conference Scheduled for Tijuana in October
    Number 6, Summer 1983 U NIVERSITY O F C ALIFORNI A C ONSORTIUM O N M EXICO & T HE U NITED S TATES BERKEL EY • D AVIS • IR VIN E • L os A NGELES • R IVERSIDE • SAN D IEGO • SAN FR ANCISCO • S AN TA B ARBARA • SAN TA CRUZ Ill PROFMEX·ANUIES International Conference Scheduled for Tijuana in October Hosted by CEFNOMEX representing the Carlos Monsivais (UNAM) ANUIES representatives to the Con­ Asociaci6n Nacional de Universidades e Jacinto Quirarte (UT San ference include Rafael Velasco lnstitutos de Ensenanza Superior and by Anton io) Fernandez (Secretario General UCLA and UC MEX US representing IV . Games Without Rules Ejecutivo), Antonio Gago Huguet PROFMEX , the Ill Conference of Mexican Moderator Manuel Garcia y Griego (Secretario Academico), and Ermilo J. and U.S. Universities on Border Studies (COLMEX) Marroquin (D irector de Relaciones will meet October 24 and 25 in Tijuana Panelists Lorenzo Meyer (COLMEX) lnternacionales y Becas) The theme of the conference is " Rules of Clark Reynolds (Stanford) Invited to close the conference are the Game in Border Life ," and attendance Ross Shipman (UTA) the Ambassadors of both countries , John is without restriction . Jesus Tamayo (CIDE) A. Gavin (Mexico City) and Jorge Invited to open the Conference are Jorge Vargas (Univ. of San Espinosa de los Reyes (Washington, D.C.) the Attorneys General of Mexico and the Diego) The conference is funded by US ICA United States, Sergio Garcia Ramirez Scott Whiteford (Michigan and ANUIES. and William French Smith. Smith wil l also State University) For more information, contact the con­ serve in his capacity as Regent of the Uni ­ Other invited speakers include ference organizers: Jorge Bustamante, versity of California.
    [Show full text]
  • Literary Miscellany
    Literary Miscellany Including Recent Acquisitions. Catalogue 286 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.reeseco.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request.
    [Show full text]
  • David Alfaro Siqueiros Papers, 1921-1991, Bulk 1930-1936
    http://oac.cdlib.org/findaid/ark:/13030/tf9t1nb3n3 No online items Finding aid for the David Alfaro Siqueiros papers, 1921-1991, bulk 1930-1936 Annette Leddy Finding aid for the David Alfaro 960094 1 Siqueiros papers, 1921-1991, bulk 1930-1936 Descriptive Summary Title: David Alfaro Siqueiros papers Date (inclusive): 1920-1991 (bulk 1930-1936) Number: 960094 Creator/Collector: Siqueiros, David Alfaro Physical Description: 2.11 Linear Feet(6 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: A leading member of the Mexican muralist movement and a technical innovator of fresco and wall painting. The collection consists almost entirely of manuscripts, some in many drafts, others fragmentary, the bulk of which date from the mid-1930s, when Siqueiros traveled to Los Angeles, New York, Buenos Aires, and Montevideo, returning intermittently to Mexico City. A significant portion of the papers concerns Siqueiros's public disputes with Diego Rivera; there are manifestos against Rivera, eye-witness accounts of their public debate, and newspaper coverage of the controversy. There is also material regarding the murals América Tropical, Mexico Actual and Ejercicio Plastico, including one drawing and a few photographs. The Experimental Workshop in New York City is also documented. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in Spanish; Castilian and English Biographical/Historical Note David Alfaro Siqueiros was a leading member of the Mexican muralist movement and a technical innovator of fresco and wall painting.
    [Show full text]
  • Frida Kahlo I Diego Rivera. Polski Kontekst
    Polski kontekst I Polish context SPIS TREŚCI TABLE OF CONTENTS 9—11 7 Jacek Jaśkowiak 135—148 Helga Prignitz-Poda Prezydent Miasta Poznania I President of the City of Poznań Diego Rivera – prace I Diego Rivera – works Gdyby Frida była wśród nas… I If Frida were among us… 187—187 Helga Prignitz-Poda 19—19 Alejandro Negrín Nickolas Muray Ambasador Meksyku w Polsce I Ambassador of Mexico to Poland Frida Kahlo i Diego Rivera w Polsce: uniwersalizm kultury meksykańskiej 195—195 Ariel Zúñiga Frida Kahlo and Diego Rivera in Poland: the Universal Nature of Mexican Art O Bernice Kolko… I On Bernice Kolko… x1— 13 Anna Hryniewiecka 211—211 Dina Comisarenco Mirkin Dyrektor Centrum Kultury ZAMEK w Poznaniu I Director of ZAMEK Culture Centre in Poznań Grafiki Fanny Rabel (artystki w wieku pomiędzy sześćsetnym Frida. Czas kobiet I Frida. Time of Women i dwutysięcznym rokiem życia) I Graphic works by Fanny Rabel (artist between 600 and 2000 years of age) 17—17 Helga Prignitz-Poda Frida Kahlo i Diego Rivera. Polski kontekst. Sztuka meksykańska w wymianie kulturowej 135—224 Diego Rivera Frida Kahlo and Diego Rivera. Polish context. Mexican Art in Cultural Exchange O Fanny Rabel I About Fanny Rabel 17— 52 Elena Poniatowska 135—225 Frida Kahlo o Fanny Rabel, sierpień 1945 Frida Kahlo Frida Kahlo about Fanny Rabel, August 1945 0 53—53 Diego Rivera 227—227 Helga Prignitz-Poda Frida Kahlo i sztuka Meksyku I Frida Kahlo and Mexican Art Kolekcja prac z Wystawy sztuki meksykańskiej z 1955 roku w zbiorach Muzeum Narodowego w Warszawie I Works from the 1955 Exhibition
    [Show full text]
  • Central Intelligence Agency (CIA) Freedom of Information Act (FOIA) Case Log October 2000 - April 2002
    Description of document: Central Intelligence Agency (CIA) Freedom of Information Act (FOIA) Case Log October 2000 - April 2002 Requested date: 2002 Release date: 2003 Posted date: 08-February-2021 Source of document: Information and Privacy Coordinator Central Intelligence Agency Washington, DC 20505 Fax: 703-613-3007 Filing a FOIA Records Request Online The governmentattic.org web site (“the site”) is a First Amendment free speech web site and is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website. 1 O ct 2000_30 April 2002 Creation Date Requester Last Name Case Subject 36802.28679 STRANEY TECHNOLOGICAL GROWTH OF INDIA; HONG KONG; CHINA AND WTO 36802.2992 CRAWFORD EIGHT DIFFERENT REQUESTS FOR REPORTS REGARDING CIA EMPLOYEES OR AGENTS 36802.43927 MONTAN EDWARD GRADY PARTIN 36802.44378 TAVAKOLI-NOURI STEPHEN FLACK GUNTHER 36810.54721 BISHOP SCIENCE OF IDENTITY FOUNDATION 36810.55028 KHEMANEY TI LEAF PRODUCTIONS, LTD.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
    This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education.
    [Show full text]
  • Finding Aid for the Lola Alvarez Bravo Archive, 1901-1994 AG 154
    Center for Creative Photography The University of Arizona 1030 N. Olive Rd. P.O. Box 210103 Tucson, AZ 85721 Phone: 520-621-6273 Fax: 520-621-9444 Email: [email protected] URL: http://creativephotography.org Finding aid for the Lola Alvarez Bravo Archive, 1901-1994 AG 154 Finding aid updated by Meghan Jordan, June 2016 AG 154: Lola Alvarez Bravo Archive, 1901-1994 - page 2 Lola Alvarez Bravo Archive, 1901-1994 AG 154 Creator Bravo, Lola Alvarez Abstract Photographic materials (1920s-1989) of the Mexican photographer Lola Alvarez Bravo (1903 [sometimes birth date is recorded as 1907] -1993). Includes extensive files of negatives from throughout her career. A small amount of biographical materials, clippings, and publications (1901-1994) are included. The collection has been fully processed. A complete inventory is available. Quantity/ Extent 32 linear feet Language of Materials Spanish English Biographical Note Lola Álvarez Bravo was born Dolores Martínez de Anda in 1903 in Lagos de Moreno, a small city in Jalisco on Mexico's Pacific coast. She moved to Mexico City as a young child, after her mother left the family under mysterious circumstances. Her father died when she was a young teenager, and she was then sent to live with the family of her half brother. It was here that she met the young Manuel Alvarez Bravo, a neighbor. They married in 1925 and moved to Oaxaca where Manuel was an accountant for the federal government. Manuel had taken up photography as an adolescent; he taught Lola and they took pictures together in Oaxaca. Manuel also taught Lola how to develop film and make prints in the darkroom.
    [Show full text]
  • Epic of American Civilization Murals
    NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 THE EPIC OF AMERICAN CIVILIZATION MURALS, BAKER LIBRARY Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: The Epic of American Civilization Murals, Baker Library, Dartmouth College Other Name/Site Number: Baker-Berry Library 2. LOCATION Street & Number: 6025 Baker-Berry Library Not for publication: City/Town: Hanover Vicinity: State: NH County: Grafton Code: 009 Zip Code: 03755 3. CLASSIFICATION Ownership of Property Category of Property Private: X Building(s): _X_ Public-Local: District: ___ Public-State: ___ Site: ___ Public-Federal: ___ Structure: ___ Object: ___ Number of Resources within Property Contributing Noncontributing 1 buildings sites structures objects 1 Total Number of Contributing Resources Previously Listed in the National Register: Name of Related Multiple Property Listing: NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 THE EPIC OF AMERICAN CIVILIZATION MURALS, BAKER LIBRARY Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this ____ nomination ____ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ____ meets ____ does not meet the National Register Criteria.
    [Show full text]
  • El Museo Mural Diego Rivera Realiza Recorrido En Lengua Náhuatl, En El Contexto Del Día Internacional De Los Museos
    Dirección de Difusión y Relaciones Públicas Ciudad de México, a 19 de mayo de 2019 Boletín núm. 713 El Museo Mural Diego Rivera realiza recorrido en lengua náhuatl, en el contexto del Día Internacional de los Museos Este proyecto de inclusión y acceso al arte fortalece el papel de los museos como espacios de encuentro Se trata de un acercamiento a la diversidad cultural del país y a la obra del artista El Museo Mural Diego Rivera celebró con un recorrido guiado en lengua náhuatl en torno al mural Sueño de una tarde dominical en la Alameda Central, que el artista guanajuatense pintara entre julio y septiembre de 1947. El recorrido, además de abordar el contenido de la obra, también alude la historia del recinto. Esta actividad del Instituto Nacional de Bellas Artes y Literatura (INBAL), realizada en el marco del Día Internacional de los Museos, se llevó a cabo en colaboración con el Instituto Nacional de Lenguas Indígenas (INALI). “El proyecto abordó los temas que ofrecemos durante nuestras visitas tradicionales, sólo que en náhuatl. Se habló sobre la historia del mural y de los personajes que aparecen, que fueron protagonistas de la historia de nuestro país. Este es un recorrido no sólo de acercamiento a la obra de Rivera, sino, particularmente, a la diversidad cultural que existe en el país”, señaló en entrevista Marisol Argüelles, directora del recinto. “El mural concentra varias etapas de la historia de México. Se explica el momento histórico, quiénes son los personajes, el papel de éstos dentro de la historia y de la composición pictórica y se alude a algunas reflexiones que el artista hace a través de su obra.
    [Show full text]
  • A Promenade Trough the Visual Arts in Carlos Monsivais Collection
    A Promenade Trough the Visual Arts in Carlos Monsivais Collection So many books have been written, all over the world and throughout all ages about collecting, and every time one has access to a collection, all the alarms go off and emotions rise up, a new and different emotion this time. And if one is granted access to it, the pleasure has no comparison: with every work one starts to understand the collector’s interests, their train of thought, their affections and their tastes. When that collector is Carlos Monsiváis, who collected a little bit of everything (that is not right, actually it was a lot of everything), and thanks to work done over the years by the Museo del Estanquillo, we are now very aware of what he was interested in terms of visual art in the 20th Century (specially in painting, illustration, engraving, photography). It is only natural that some of the pieces here —not many— have been seen elsewhere, in other exhibitions, when they were part of the main theme; this time, however, it is a different setting: we are just taking a stroll… cruising around to appreciate their artistic qualities, with no specific theme. This days it is unusual, given that we are so used to looking for an overarching “theme” in every exhibition. It is not the case here. Here we are invited to partake, along with Carlos, in the pleasures of color, texture, styles and artistic schools. We’ll find landscapes, portraits, dance scenes, streetscapes, playful scenes. All executed in the most diverse techniques and styles by the foremost mexican artist of the 20th Century, and some of the 21st as well.
    [Show full text]