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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. -
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. -
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. -
7.10 Nov 2019 Grand Palais
PRESS KIT COURTESY OF THE ARTIST, YANCEY RICHARDSON, NEW YORK, AND STEVENSON CAPE TOWN/JOHANNESBURG CAPE AND STEVENSON NEW YORK, RICHARDSON, YANCEY OF THE ARTIST, COURTESY © ZANELE MUHOLI. © ZANELE 7.10 NOV 2019 GRAND PALAIS Official Partners With the patronage of the Ministry of Culture Under the High Patronage of Mr Emmanuel MACRON President of the French Republic [email protected] - London: Katie Campbell +44 (0) 7392 871272 - Paris: Pierre-Édouard MOUTIN +33 (0)6 26 25 51 57 Marina DAVID +33 (0)6 86 72 24 21 Andréa AZÉMA +33 (0)7 76 80 75 03 Reed Expositions France 52-54 quai de Dion-Bouton 92806 Puteaux cedex [email protected] / www.parisphoto.com - Tel. +33 (0)1 47 56 64 69 www.parisphoto.com Press information of images available to the press are regularly updated at press.parisphoto.com Press kit – Paris Photo 2019 – 31.10.2019 INTRODUCTION - FAIR DIRECTORS FLORENCE BOURGEOIS, DIRECTOR CHRISTOPH WIESNER, ARTISTIC DIRECTOR - OFFICIAL FAIR IMAGE EXHIBITORS - GALERIES (SECTORS PRINCIPAL/PRISMES/CURIOSA/FILM) - PUBLISHERS/ART BOOK DEALERS (BOOK SECTOR) - KEY FIGURES EXHIBITOR PROJECTS - PRINCIPAL SECTOR - SOLO & DUO SHOWS - GROUP SHOWS - PRISMES SECTOR - CURIOSA SECTOR - FILM SECTEUR - BOOK SECTOR : BOOK SIGNING PROGRAM PUBLIC PROGRAMMING – EXHIBITIONS / AWARDS FONDATION A STICHTING – BRUSSELS – PRIVATE COLLECTION EXHIBITION PARIS PHOTO – APERTURE FOUNDATION PHOTOBOOKS AWARDS CARTE BLANCHE STUDENTS 2019 – A PLATFORM FOR EMERGING PHOTOGRAPHY IN EUROPE ROBERT FRANK TRIBUTE JPMORGAN CHASE ART COLLECTION - COLLECTIVE IDENTITY -
Adolfo Best-Maugard's Influence on the Art and Aesthetics of Katherine
of the Society Volume XVII May 2017 ISSN 1528.655X Adolfo Best-Maugard’s Influence on the Art and Aesthetics of Katherine Anne Porter By Beth Alvarez, University of Maryland This essay, translated into Spanish, originally appeared in Adolfo Best Maugard: La Espiral del Arte (Mexico City/Cuernavaca: Museo del Palacio de Bellas Artes/Centro Cultural Jardin Borda, 2016). The monograph is the exhibition catalog for a retrospective exhibit of Best Maugard’s work exhibited in Cuernavaca and Mexico City in 2016. Among Katherine Anne Porter’s papers at the University of Maryland Libraries is a curious flier. Printed in black on one sheet of light green heavy paper to form four pages, the front page states, “M. KNOEDLER & CO., ANNOUNCE AN EXHIBITION OF TEMPERA PAINTINGS, MEXICAN IN CHARACTER BY ADOLFO BEST-MAUGARD, DECEMBER 1st TO 13th.” Above this statement appears a reproduction of one of Best-Maugard’s paintings. Inside the flier on two facing pages titled “CATALOGUE,” the thirty-five paintings of the exhibition are listed.1 This announcement is an important piece of evidence that links Porter to Adolfo Best-Maugard. It substantiates Porter’s claim that she first journeyed to Mexico in 1920 at the urging of Best-Maugard, whom she had met in Greenwich Village after her move there in October 1919. In early April 1920, Porter reported that she was collaborating with Best- Maugard on a Mexican ballet for Anna Pavlova. Among Porter’s correspondence of April-August 1920 are references to her work on ballet-pantomimes with Best-Maugard, both for Pavlova and for Adolph Bolm.2 Porter’s version of the outcome of her collaboration on the Pavlova ballet was that it was not performed in New York in 1920 Katherine Anne Porter in the dress of “a town Indian because the city fire authorities refused to sanction the production as woman,” Mexico City, Mexico, July-August 1930. -
Gallery Guide in English
Luis Arenal (Mexican, 1908-1985). Cabeza de indígena (Head of an Indigenous Woman), 1947. Lithograph. Portland Art Museum, Museum Purchase: Marion McGill Lawrence Fund NUESTRA OUR MEXICO AND THE IMAGEN PRESENT GRAPHIC ARTS ACTUAL IMAGE 1929-1956 October 3, 2020 to February 14, 2021 The exhibition is co-organized by the Jordan Schnitzer Museum of Art and the Portland Art Museum. Support provided by Art Bridges, and by members and donors to the JSMA. 1 NUESTRA OUR MEXICO AND THE IMAGEN PRESENT GRAPHIC ARTS ACTUAL IMAGE 1929-1956 October 3, 2020 to February 14, 2021 A remarkable artistic outpouring ensued after the Mexican Revolution (1910-1920). Printmaking flourished as artists continued to demand land, labor, and education reforms, and the rights of indigenous peoples. Because they are multiples, prints could be widely distributed to raise awareness about social justice issues and advocate for change. Artists made posters and leaflets for the masses in Mexico, as well as prints to satisfy a growing audience for images of Mexican history and culture in the United States. This exhibition aims to deepen and broaden the understanding and appreciation of the graphic art of post-revolutionary Mexico, a landmark in the history of twentieth-century printmaking and modern art. Nuestra imagen actual | Our Present Image: Mexico and the Graphic Arts 1929-1956, co-organized by the Jordan Schnitzer Museum of Art (JSMA) and the Portland Art Museum (PAM), presents sixty-two prints by twenty-two artists including the leading Mexican muralists José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros, and members of Mexico’s world famous Popular Graphic Art Workshop (est. -
México Y Las Artes Gráficas
Luis Arenal (mexicano, 1908-1985). Cabeza de indígena, 1947. Litografía. Museo de Arte de Portland, adquisición del museo con apoyo del Fondo Marion McGill Lawrence NUESTRA OUR MÉXICO Y LAS IMAGEN PRESENT ARTES GRÁFICAS ACTUAL IMAGE 1929-1956 3 de octubre, 2020 – 14 de febrero, 2021 La exhibición fue organizada conjuntamente por el Museo de Arte Jordan Schnitzer (JSMA) y el Museo de Arte de Portland (PAM). Contamos con el apoyo brindado por Art Bridges y los miembros y donadores del JSMA. 1 NUESTRA OUR MÉXICO Y LAS IMAGEN PRESENT ARTES GRÁFICAS ACTUAL IMAGE 1929-1956 3 de octubre, 2020 – 14 de febrero, 2021 Un extraordinario derroche artístico fue generado después de la Revolución Mexicana (1910-1920). El arte del grabado floreció mientras los artistas siguieron exigiendo reformas agrarias, laborales y educativas, además de los derechos de personas indígenas. Debido a que pueden multiplicarse, los grabados pudieron difundirse ampliamente para crear conciencia sobre las cuestiones de justicia social y abogar por un cambio. Los artistas hicieron carteles y volantes para las masas en México, así como también hicieron grabados para satisfacer la creciente demanda por imágenes de la historia y la cultura mexicana en los Estados Unidos. Esta exhibición busca profundizar y ampliar el entendimiento y apreciación por las artes gráficas del México posrevolucionario, una época sin precedentes en la historia del grabado y arte moderno del siglo XX. Nuestra imagen actual: México y las artes gráficas 1929-1956, organizada conjuntamente por el Museo de Arte Jordan Schnitzer (JSMA) y el Museo de Arte de Portland (PAM), presenta sesenta y dos grabados realizados por veintitrés artistas, incluyendo los destacados muralistas mexicanos José Clemente Orozco, Diego Rivera y David Alfaro Siqueiros, además de miembros del mundialmente famoso Taller de Gráfica Popular de México (establecido en 1937). -
Guanajuato En Su Obra Gráfica (Importancia Del Grabado En
GUANAJUATO EN SU OBRA GRÁFICA (IMPORTANCIA DEL GRABADO EN REGIÓN DEL BAJÍO) Itzimba Ameyali López Ramírez (1), Rolando Ramos Reyes (2), Claudia Erika Morales Hernández (3) 1 Colegio de Nivel Medio Superior, ENMS Guanajuato, Universidad de Guanajuato | [email protected] 2 Depto. de Artes Visuales, División de Arquitectura, Arte y Diseño, Universidad de Guanajuato | [email protected] 3 Colegio de Nivel Medio Superior, ENMS Guanajuato, Universidad de Guanajuato | [email protected] Resumen El grabado es el acto de estampar con tinturas en distintas superficies. Históricamente, en México esta práctica artística está vinculada con la crítica social. La particularidad de la gráfica guanajuatense es la fusión de las técnicas, estilos y temáticas propias de la cultura mexicana y japonesa. Abstract Printmaking is the act of stamping tinctures on several surfaces. Historically, in Mexico this artistic practice is linked with social criticism. The particularity of Guanajuato printmaking is the fusion of techniques, styles and topics of the Mexican and Japanese culture. Palabras Clave Litografía, historia, técnica, grabadores, autenticidad. , Verano de la Investigación Científica, 2015 Científica, Investigación de la , Verano 2 no. no. Vol. 1 1 Vol. 1191 definidos, que se encontraban relacionados con la INTRODUCCIÓN religión o con la mitología en códices. Es importante anotar que el sello de forma cilíndrica El grabado es una expresiones gráfica silenciosa se inventó en Mesoamérica independientemente entre las demás, la cual no solo se debe a lo que del resto del mundo, aun ignorando la aplicación representa como arte, sino que también se le de la rueda, pero debido a la dificultad de su reconoce por su aporte como instrumento de fabricación, son menos frecuentes. -
GM CATALOGO DE ARTE.Pdf
Dirección editorial: Claudia Algorri Guzmán Líder de proyecto: Teresa Cid Cabello Coordinación editorial: Sara Silva Montiel y Elizabeth Arreguín Vega Curaduría: Pilar García González y Susana Pliego Quijano Museografía: Giacomo Castagnola y Erik López Fotografías: Michel Zabé Diseño de catálogo: FECH STUDIO Diseño de la exposición: Buró- Buró www.gm.com.mx comunicació[email protected] Facebook: General Motors México Twitter: @GeneralMotorsMX Durante los últimos 80 años, nuestro país ha mantenido un acelerado desarrollo económico, social y cultural, en el cual se han visto involucrados diversos actores entre los que se encuentran, en definitiva, los miembros de la iniciati- va privada, en su mayoría representados por empresas generadoras de bienestar económico y, por supuesto, social. General Motors ha sido uno de esos actores que ha estado presente en la historia del país, aportando inversión, capacitación, crecimiento económico y generación de empleo, pero también contribuyendo con el factor humano, involucrándose permanentemente en proyectos de responsabilidad social e incluso, en actividades que permiten promover y fortalecer la cultura. Como parte de estos esfuerzos, General Motors integró en la década de los sesenta, una colección de dibujos y grabados con el objetivo primordial de reunir manifestaciones artísticas que ofrecieran un panorama de la vida cultural de la Ciudad de México. Las obras fueron creación de artistas de la talla de Julio Ruelas, Francisco Goi- tia, José Clemente Orozco, Diego Rivera, David Alfaro Siqueiros, Rufino Tamayo y Carlos Mérida. La colección, integrada originalmente por 260 piezas, se compone de obras realizadas mediante diversas técnicas, entre ellas tintas, gouaches, acuarelas, pasteles, grafito, carbón y collages, además de aguafuertes, litografías y grabados en madera y metal. -
Olga Costa and José Chávez Morado E T U T I T S N I
Science, Art and Culture Olga Costa and José Chávez Morado e t u t i t s n I l a r u t l u C e t a t S o t a u j a n a u G e h t f o y s e t r u o c d e c u d o r p e r s o t o h P Olga Costa, The Bride , 70 x 55 cm (oil on canvas). Private collection. José Chávez Morado, Bird Seller , 36.5 x 33.5 cm (crayon sketch). Echeverría Zuno Family collection. Olga Costa and José Chávez Morado not only shared a long married and productive artistic life together, they also loved Guanajuato and its people to whom they donated their house and several art collections. Here we pay homage to their artistic achievements and their generosity and interest in the promotion of art and culture. José Chávez Morado e t u t i t s n I l a r u t l u C e t a t S o t a u j a n a u G e h t f o y s e t r u o c d e c u d o r p e r s o t o h P A Portrait of the Nation , 70 x 90 cm, 1961 (oil on canvas). Artist’s collection. Cart of Crazies , 70 x 91 cm, 1950 (oil on canvas). Artist’s collection. 30 A Man of Another Age 1 alking about José Chávez Morado is one of the greatest difficulties a mod - T ern Mexican art lover or critic could have. -
Tina Modotti's Vision: Photographic Modernism in Mexico, 1923-1930
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1996 Tina Modotti's Vision: Photographic Modernism in Mexico, 1923-1930 Sarah Margaret Lowe Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1702 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] INFORM ATION T O USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Ink, Paper, Politics: WPA-Era Printmaking from the Needles Collection
DePaul University Via Sapientiae DePaul Art Museum Publications Academic Affairs 2014 Ink, Paper, Politics: WPA-Era Printmaking from the Needles Collection Helen Langa Louise Lincoln Belverd Needles Jr. Marian Powers Needles Follow this and additional works at: https://via.library.depaul.edu/museum-publications Part of the Printmaking Commons Recommended Citation Langa, Helen; Lincoln, Louise; Needles, Belverd Jr.; and Powers Needles, Marian, "Ink, Paper, Politics: WPA- Era Printmaking from the Needles Collection" (2014). DePaul Art Museum Publications. 6. https://via.library.depaul.edu/museum-publications/6 This Book is brought to you for free and open access by the Academic Affairs at Via Sapientiae. It has been accepted for inclusion in DePaul Art Museum Publications by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. INK, PAPER, POLITICS: WPA-Era Printmaking from the Needles Collection DePaul Art Museum INK PAPER POLITICS INK PAPER POLITICS WPA-Era Printmaking from the Needles Collection Contents Ink, Paper, Politics: WPA-Era Printmaking from the Needles Collection 6 Introduction September 11 – December 21, 2014 DePaul Art Museum Louise Lincoln 935 West Fullerton Avenue Chicago, Illinois 60614 10 Collectors’ Foreword © 2014 DePaul University ISBN: 978-0-9789074-8-8 Belverd Needles Jr. and Distributed by the University of Chicago Press Marian Powers Needles www.press.uchicago.edu Inside cover: cat. no. 48 (detail) 14 Printmaking, Artistic Diversity, and Frontispiece: cat.