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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. -
La Célula Gráfica. Artistas Revolucionarios En México, 1919-1968, Muestra Que Aborda El Compromiso De Los Artistas Mexicanos Del Siglo XX
Dirección de Difusión y Relaciones Públicas Ciudad de México, a 22 de noviembre de 2019 Boletín núm. 1800 La célula gráfica. Artistas revolucionarios en México, 1919-1968, muestra que aborda el compromiso de los artistas mexicanos del siglo XX • Las 180 piezas permanecerán en exposición del 22 de noviembre de 2019 al 23 de febrero de 2020 en el Museo Nacional de la Estampa El Museo Nacional de la Estampa (Munae) del Instituto Nacional de Bellas Artes y Literatura (INBAL) exhibirá a partir del 22 de noviembre la muestra La célula gráfica. Artistas revolucionarios en México, 1919-1968, cuyo objetivo es valorar la función del arte como compromiso social. Esta exposición, bajo la curaduría de Ana Carolina Abad, se centra en el trabajo de artistas que, a partir del fin de la Revolución Mexicana y hasta la década de 1960, asumieron la tarea de crear imágenes con mensajes generalmente de índole social. La célula gráfica es una gran oportunidad para conocer parte del acervo del Munae que pocas veces se ha exhibido, principalmente de grabadores reconocidos, como Diego Rivera, David Alfaro Siqueiros, Luis Arenal, Xavier Guerrero, Leopoldo Méndez, Pablo O’Higgins, Raúl Anguiano, Ángel Bracho, Francisco Dosamantes, Alfredo Zalce, Arturo García Bustos, Francisco Mora y Francisco Moreno Capdevila. Igualmente contempla la obra de Andrea Gómez, Sarah Jiménez y Mariana Yampolsky. Paseo de la Reforma y Campo Marte s/n, Módulo A, 1.er Piso Col. Chapultepec Polanco, Miguel Hidalgo C.P. 11560, Ciudad de México, tel. (55) 1000 5600 Ext. 4086 [email protected] Para Emilio Payán, director del Munae, La célula gráfica. -
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. -
University of Florida Thesis Or Dissertation Formatting Template
DANCING PLENA WITH THE BISHOP: AN ANALYSIS OF LORENZO HOMAR’S EL OBISPO DE PONCE LINOCUT PRINT By ANA D. RODRIGUEZ A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2016 © 2016 Ana D. Rodriguez I dedicate this effort to the younger and future generation of my family, hoping it serves as an example and inspiration ACKNOWLEDGMENTS First of all, I want to thank my family for their continuous support throughout my studies, my parents, Irma and Ramón, and my sisters, Gina, Cindy, Angie and Paula. I am especially grateful of my aunt Miriam Viruet for giving me shelter during the two weeks I spent collecting research material in Puerto Rico. I need to add into the family support group, my cousin Yahaira Sánchez for helping me collect text resources for my writing. From the University of Florida School of the Arts, I want to recognize and express my gratitude to Dr. Maya Stanfield-Mazzi, Chair of my Committee, for her patience, her guidance with my manuscript, and for keeping the faith in my work. To Dr. Efrain Barradas, for advising me to use the portfolio of Las Plenas from the Smathers’ Libraries Special Collections, for our conversations about Lorenzo Homar, and for being an inspiration. To Dr. Robin Poynor, for accepting to be a member of my committee and trusting my work. I also would like to acknowledge Dr. Margarita Vargas- Betancourt, Caribbean Basin Librarian at UF Smathers’ Library Latin American and Caribbean Collection (LACC), for all her continuous advice and support given during the making of this thesis. -
Cuando El Mundo Se Hace Plano Miguel Rio Branco José María Sicilia
CUANDO EL MUNDO SE HACE PLANO MIGUEL RIO BRANCO JOSÉ MARÍA SICILIA DIS BERLIN ANA MENDIETA SANTIAGO RODRÍGUEZ OLAZÁBAL CARMEN CALVO TERESA SERRANO ESTHER FERRER VIK MUNIZ JORDI TEIXIDOR MIGUEL ÁNGEL CAMPANO JESÚS ZURITA ANTONI TÀPIES FRANCISCO LEIRO ARTURO ELIZONDO PELLO IRAZU JUAN MUÑOZ NACHO CRIADO GUILLERMO PÉREZ VILLALTA SAINT CLAIR CEMIN JUAN GOPAR ROBERTO MATTA JESÚS SOTO MARTA MARÍA PÉREZ BRAVO MARCOS LORA READ CUANDO RAÚL CORDERO CRISTINA IGLESIAS EL MUNDO SE HACE PLANO RENÉ PEÑA Artistas MARLON DE AZAMBUJA iberoamericanos en la Colección CAAM PABLO PALAZUELO SAN MARTÍN CENTRO DE CULTURA CONTEMPORÁNEA LUIS GORDILLO 31 DE OCTUBRE DE 2013–2 DE FEBRERO DE 2014 JOSÉ ÁNGEL TOIRAC ADRIÁN ALEMÁN LARRY ÁLVAREZ 7 CONTENIDO EQUIPO CAAM Cuando el mundo se hace plano… CONTENT (unas notas arqueológicas para un cartografiado del arte iberoamericano en la Colección CAAM) 9 IVÁN DE LA NUEZ ¿Sueñan los museos con un GPS? 23 Adrián Alemán 34 Marlon de Azambuja 36 OBRA Carmen Calvo 38 Miguel Ángel Campano 39 EXPUESTA Saint Clair Cemin 40 Raúl Cordero 41 EXHIBITED Nacho Criado 42 Dis Berlin 43 WORK Arturo Elizondo 44 Esther Ferrer 46 Juan Gopar 48 Luis Gordillo 49 Cristina Iglesias 50 Pello Irazu 51 Francisco Leiro 53 Marcos Lora Read 54 Roberto Matta 56 ENGLISH Ana Mendieta 58 Vik Muniz 60 TEXTS Juan Muñoz 61 Pablo Palazuelo 62 René Peña 64 Marta María Pérez Bravo 66 Guillermo Pérez Villalta 67 Miguel Rio Branco 68 LARRY ÁLVAREZ 83 Santiago Rodríguez Olazábal 69 Teresa Serrano 70 EQUIPO CAAM José María Sicilia 72 When the world becomes map… Jesús -
Acquisitions Edited.Indd
1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in. -
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. -
1998 Acquisitions
1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in. -
THE U.S. STATE, the PRIVATE SECTOR and MODERN ART in SOUTH AMERICA 1940-1943 By
THE U.S. STATE, THE PRIVATE SECTOR AND MODERN ART IN SOUTH AMERICA 1940-1943 by Olga Ulloa-Herrera A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy Cultural Studies Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2014 George Mason University Fairfax, VA The U.S. State, the Private Sector and Modern Art in South America 1940-1943 A Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at George Mason University by Olga Ulloa-Herrera Master of Arts Louisiana State University, 1989 Director: Michele Greet, Associate Professor Cultural Studies Spring Semester 2014 George Mason University Fairfax, VA Copyright 2014 Olga Ulloa-Herrera All Rights Reserved ii DEDICATION This is dedicated to Carlos Herrera, Carlos A. Herrera, Roberto J. Herrera, and Max Herrera with love and thanks for making life such an exhilarating adventure; and to María de los Angeles Torres with gratitude and appreciation. iii ACKNOWLEDGEMENTS I would like to express the deepest appreciation to my committee chair Dr. Michele Greet and to my committee members Dr. Paul Smith and Dr. Ellen Wiley Todd whose help, support, and encouragement made this project possible. I have greatly benefited from their guidance as a student and as a researcher. I also would like to acknowledge Dr. Roger Lancaster, director of the Cultural Studies Program at George Mason University and Michelle Carr for their assistance throughout the years. -
MALBA COLLECTION Agustín Pérez Rubio OPEN HISTORY, MULTIPLE TIME
MALBA COLLECTION Agustín Pérez Rubio OPEN HISTORY, MULTIPLE TIME. A NEW TURN ON THE MALBA COLLECTION 33 …we never had grammars, nor collections of old plants. And we never knew what images selected and settled on according to the criteria of those who urban, suburban, frontier and continental were. articulate “authorized” discourses on art. Even today, we unwittingly find Oswald de Andrade1 ourselves exercising power in a practice that continues to be enmeshed in that state of afairs. The historian “stains” history just as, in Lacan’s theory …forget the stuf of the Old World, and put all of our hope, and our efort, into creating of vision, the viewer stains the scopic field.4 And that is made manifest if this new culture right here. Forget artists and schools; forget that literature and philosophy; the field of action is that artifice called Latin America. While it is true that the be cleansed and renewed; think to the beat of this life that surrounds us ... Leave behind, region is held together by certain common traits, its complex cultural reality then, authors and teachers that are no longer of any use to us; they have nothing to tell us about what we must discover in ourselves. has been shaped entirely on the basis of a colonial logic driven by political Joaquín Torres García2 and economic powers. In this globalized age, we cannot situate ourselves on a tabula rasa from which to look back at history and Latin American art as if nothing had happened before. …visual artifacts refuse to be confined by the interpretations placed on them in the present. -
Reúne El Salón De La Plástica Mexicana Muestra Retrospectiva Salón De Escultura Y Propuestas Tridimensionales 1949-2019
Dirección de Difusión y Relaciones Públicas Ciudad de México, a 17 de julio de 2019 Boletín núm. 1083 Reúne el Salón de la Plástica Mexicana muestra retrospectiva Salón de Escultura y Propuestas Tridimensionales 1949-2019 Presentarán 80 piezas de Germán Cueto, Feliciano Béjar, Federico Cantú, Luis Ortiz Monasterio, Alfredo Zalce, Elizabeth Catlett, María Eugenia Chellet e Yvonne Domenge, entre otros Inauguración el 18 de julio a las 19:30; permanecerá hasta el 25 de agosto Con más de 80 obras de destacados artistas del Salón de la Plástica Mexicana (SPM), desde sus fundadores hasta las más recientes generaciones del siglo XXI, la muestra Salón de la Plástica Mexicana. 70 aniversario. Salón de Escultura y Propuestas Tridimensionales 1949-2019 se inaugurará este jueves 18 de julio a las 19:30 y estará abierta al público hasta el domingo 25 de agosto, con horario de lunes a sábado de 10:00 a 18:00 y los domingos de 10:00 a 14:00. Entrada libre. Esta muestra es la segunda de una serie de exposiciones que ponen en relieve el valor histórico de la obra de los más de 500 artistas que han conformado el Salón de la Plástica Mexicana a lo largo de su historia y los divide en tres grandes rubros: Gráfica, escultura y pintura, con las que el Instituto Nacional de Bellas Artes y Literatura (INBAL) celebra siete décadas del SPM. Salón de Escultura y Propuestas Tridimensionales 1949-2019 presenta una ardua y amplia selección de trabajos y autores que permitirá conocer el proceso y evolución de la escultura y las propuestas tridimensionales que se han producido en nuestro país durante siete Paseo de la Reforma y Campo Marte s/n, Módulo A, 1.er Piso Col. -
Catalogo De Las Exposiciones De Arte En 1953
DOI: http://dx.doi.org/10.22201/iie.18703062e.1954.sup1.2475 JUSTINO FERNANDEZ CATALOGO DE LAS EXPOSICIONES DE ARTE EN 1953 SUPLEMENTO DEL NUM. 22 DE LOS ANALES DEL INSTITUTO DE INVESTIGACIONES ESTETICAS MEXICO 1 9 5 4. DOI: http://dx.doi.org/10.22201/iie.18703062e.1954.sup1.2475 DOI: http://dx.doi.org/10.22201/iie.18703062e.1954.sup1.2475 Merece a todas luces el lugar de honor de las exposiciones capitalinas del afio de 1953 la Exposicion de Ayte Mesicano, instal ada en el Palacio de Bellas Artes por el Instituto Nacional de Bellas Artes y en 'la que colaboraron tanto el Insltituto Nacional de Antropologia e Historia, como el Instituto Nacional Indigenista. La instalaci6n, que ocupa practicamente todas las salas de exhibicion del edificio, es decir, 10 que constituye el Museo Nacional de Artes Plasticas, es excelente no obs tante su dificil realizacion, por 10 que merecen una felicitacion todos los encar gados de Ilevarla a cabo. En realidad no desmerece esta exposicion respecto a las que fueron presentadas en 1952 en Paris, Estocolmo y Londres; cierto que algunas piezas se suprimieron, mas, en carnbio se ha enriquecido con otras y, adernas, se ha contado con las obras murales de Orozco, Rivera, Siqueiros y Tamayo que com pletan la seccion del arte contemporaneo, Alguna seccion resulta un poco exigua, me refiero a la de la pintura del siglo XIX, mas, en verdad, no era posible segura mente disponer de mayor espacio, Es de lamentar que no se haya publicado un ca talogo detallado de la exposicion cornpleta, pues la guia con que se cuenta no es suficiente para la visita ni para conmernorar tan magno suceso artistico.