DOCSLIB.ORG

Realismo Social

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Realismo Social Universidad Veracruzana Facultad de Historia HISTORIA DE ARTE ARTE POSTEXPRESIONISTA Realismo Social Maestro: Dr. Raúl Romero Ramírez Ideas MODERNISMO DEL SIGLO XX Estéticas MATERIALISTA HERÓICO Estilos Post Expresionistas La crisis de la Representación de la Realidad BELLEZA Realismo social Sentido Protesta contra la intolerancia social y gubernamental. El indígena, campesino o proletario como figura fundamental. Gusto Rescatar la bondad y dignidad de las clases trabajadoras que viven en pobreza debido al carácter del capitalismo con sus burgueses explotadores, comerciantes y parásitos sociales. Ideal Defender la causa del débil contra el fuerte, del pobre contra el rico, del oprimido contra el opresor. Valor Criticar y describir las situaciones sociales extremas: la guerra, la intolerancia, la historia... Pasión Por la monumentalidad de la Historia plasmada en realidades de protesta o de dignidad humana. Sentimientos Humanitarismo ; grandeza y fortaleza ; misericordia. POST EXPRESIONISMO El arte pos expresionista esta basado en teorías neoprimitivistas en donde el subconsciente del autor propone la apertura de los sentidos a lo exótico; a la libertad al natural; al trazo primitivo del color y a la sencillez de lo abstracto; dando por resultado el arte-estilo denominado Realismo Social, y llamado en México como Muralismo y en la Unión Soviética como Arte Soviético. El término Realismo Social esta vinculado a la crítica anarquista, socialista y comunista, siendo éste un tipo de arte creado en los países donde se desarrolló este corte ideológico entre 1910-1970. Con la Revolución de Octubre de 1917 en Rusia y el primer gobierno comunista del mundo (la URSS), fue un hecho la posibilidad de que otras naciones alcanzaran el comunismo. México, durante la Revolución de 1910, tuvo varios líderes anarquistas, socialistas y comunistas, por lo que quedaron plasmados su ideales en la Constitución de 1917 y nació un tipo de arte crítico-social de corte izquierdista: el Muralismo. José Vasconcelos, Secretario de Educación Pública en le gobierno de Álvaro Obregón (1921), buscó alfabetizar a la población a través del arte patrocinando al Dr. Atl, Gerardo Murillo, pintor y maestro considerado el padre del muralismo (conocido como el sucesor de José María Velasco Gómez). El fundó el Centro Artístico en la Ciudad de México de donde emergerían los nuevos artistas. Fragmento de La Marcha de la Humanidad. David Alfaro Siqueiros. México. El pintor-vulcanólogo Dr. Atl Gerardo Murillo, se adentró en el mundo de la ciencia como consecuencia de su atracción por la belleza. Influenciado por el arte naturalista y realista, inició sus trabajos estéticos sobre los volcanes, el primero sobre el Popocatépetl fue literario: Las sinfonías del Popocatépetl. También hizo dibujos, esquemas y pinturas del volcán. Sus estudios posteriores incluyen El origen del Pedregal de San Ángel y La zona aurífera del Centro El Dr. Atl escribió numerosos libros que contenían cuentos Colorado en Oaxaca. Pero controversiales en su tiempo por su temática y en tratamiento. no solo plasmó volcanes También es autor de novelas como Un hombre más allá del mexicanos en sus obras. universo (1935), El padre eterno, Satanás y Juanito García Realizó investigaciones (1938) y Gentes profanas en el convento. La publicación del sobre volcanes italianos; texto Cuentos de todos colores, que contiene temas de la dibujó el Etna y el Stromboli. Revolución. José Clemente Orozco (1883-1949), muralista y litógrafo mexicano, graduado en la Escuela Nacional de Agricultura, estudió más tarde matemáticas y dibujo arquitectónico. Aún siendo un niño, conoció a José Guadalupe Posada, cuyos grabados lo llevaron a interesarse por la pintura. Prometeo. Pomona College. California, E.U.A. Hizo su primera exposición individual en la librería Biblos de Ciudad de México en 1916. Al año siguiente viajó por los Estados Unidos y vivió en San Francisco y en Nueva York pintando carteles; pintó también murales para el Colegio Pomona de California, para el Dartmouth College y la New School for Social Research de Nueva York; en la decoración de esta última, realizo un verdadero fresco, pues pintó sobre yeso húmedo; fue la primera de este tipo que se hizo en Nueva York. A su regreso a México en 1934 Orozco realizó el gran tablero rectangular de Palacio de Bellas Artes titulado Katharsis, situado frente al de Rivera: El hombre en la encrucijada. Es una representación sangrienta del conflicto violento entre el hombre moderno y el caótico mundo mecanizado que lo rodea y al mismo tiempo lo oprime. Katharsis (Detalle) José Clemente Orozco, 1934-1935. En el Palacio de Gobierno de Jalisco Orozco realizó un mural donde trata un tema histórico. Unificó los muros y la bóveda de la escalera, logrando una especie de tríptico dedicado a la lucha por la liberación de México. Un enorme Hidalgo es el centro mayor de interés de esta obra. JOSÉ CLEMENTE OROZCO Hidalgo empuñando la antorcha de la libertad En Cuanto a las pinturas de la capilla del Hospicio Cabañas (1937-39), se ha dicho que significan un compendio de la filosofía humanística de su autor, que parte del origen y desarrollo de América y del mundo. Esta obra monumental consta de 40 grandes frescos alojados en las distintas secciones arquitectónicas de todo el conjunto (una cúpula, un tambor de soporte, las pechinas, ocho bóvedas y catorce paneles, además de varios fragmentos menores) de El hombre envuelto en llamas, en la la antigua capilla del siglo XIX, cúpula, Orozco resume todos los temas construida según diseño de tratados, además de ser la apoteosis del Manuel Tolsá. tema de Prometeo en la obra de Orozco. Diego María Rivera (1886 -1957), fue un destacado muralista mexicano de ideología comunista, famoso por plasmar obras de alto contenido social en edificios públicos. Fue creador de diversos murales en distintos puntos del centro histórico de la Ciudad de México, así como en la Escuela Nacional de Agricultura de Chapingo y en otras ciudades mexicanas como Cuernavaca y Acapulco, así también algunas otras del extranjero como San Francisco, Detroit y Nueva York. En enero de 1922, comenzó a pintar su El mural La Creación, es interesante pero no primer mural, llamado La Creación, en el tuvo un efecto totalmente convincente. Anfiteatro Simón Bolívar de la escuela A la crítica de la época le pareció una mezcla de Preparatoria Nacional. El tema central de simplificaciones cubistas y volúmenes con este mural es la formación de la raza influencias italianas del Cuattrocento y del mexicana. Para la realización del mismo, Renacimiento. lo asistieron Carlos Mérida, Jean Charlot, No obstante la influencia del fresco italiano, en Amado de la Cueva y Xavier Guerrero. La Creación se observan inicios del nacionalismo cultural que se desarrollará posteriormente. Hacia 1927, Diego Rivera fue invitado a los festejos de los primeros diez años de la Revolución de Octubre en la Unión Soviética, por lo que parte hacia la Ciudad Rusa de Moscú. A su regreso a México a Diego Rivera se le otorgarán los permisos necesarios para comenzar con las pinturas y murales del Palacio de Cortés en Cuernavaca y en la Escuela Nacional de Agricultura, en Chapingo, así como en el Palacio Nacional de la Ciudad de México, donde de 1929 a 1935 creó un ciclo narrativo sobre la historia del país desde los tiempos de Cortés evaluando los tesoros. los aztecas hasta el siglo XX. Diego Rivera. Sin embargo, entre agosto de 1929 y mayo de 1930, Diego Rivera, siendo director de la Escuela Central de Artes Plásticas, salió de ahí por un movimiento estudiantil organizado en su contra debido a su tendencia ideológica. El maguey como símbolo de la abundancia prehispánica, como elemento inspirador del arte y como patrimonio económico anclado profundamente a las raíces de México, fue tema constante para Diego Rivera. Images of Murals by Diego Rivera in the Palacio Nacional de Mexico. Hacia 1933 el industrial John D. Rockefeller Jr. contrata a Rivera para pintar un mural en el vestíbulo de entrada o "lobby" del edificio RCA en la ciudad de Nueva York, el Rockefeller Center, situado en Fifth Avenue, emblema del capitalismo. Diego Rivera, diseñó para esta ocasión, el mural denominado El hombre en el cruce de caminos o El hombre controlador del universo. Pero cuando Diego Rivera se encontraba a punto de completarlo, incluyó un retrato de Lenin. La reacción de la prensa y la controversia que suscitó el retrato de Lenin, fue inmediata y vocifera. Rockefeller, vio el retrato como insulto personal y mandó cubrir el mural y más tarde ordenó que fuera destruido. Rivera poco después regresó a México en 1934, donde pintó el mismo mural en el tercer piso del Palacio de Bellas Artes de México. En 1936 Diego Rivera solicita al presidente Lázaro Cárdenas del Río, el asilo político de León Trotsky en México que se concreta el año siguiente, recibiéndolo en la Casa Azul de Frida Kahlo. Hacia 1946, pintó una de sus obras más importantes, Sueño de una tarde dominical en la Alameda Central en el entonces recién construido Hotel del Prado de la Ciudad de México. También integrará junto con José Clemente Orozco y David Alfaro Siqueiros, la comisión de Pintura Mural del Instituto Nacional de Bellas Artes. Sueño de una tarde dominical en la Alameda Central Diego Rivera, 1947. Diego Rivera y Juan O’Gorman confeccionaron la idea de crear las caras de la Biblioteca Central de la UNAM a partir de la construcción del museo Anahuacalli, donde Rivera almacenaría su colección prehispánica. La técnica de mosaico con piedras garantizaría la permanencia de los colores ante las inclemencias de la intemperie. Muro norte: El pasado prehispánico; Muro sur: El pasado colonial; Muro oriente: El mundo contemporáneo (La Biblioteca Central de la Universidad Nacional Autónoma de Revolución); y Muro México (UNAM) Diego Rivera y Juan O´Gorman. México. 1950. poniente: La Universidad y el México actual.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [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]
  • 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.
    [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]
  • A Day in Guadalajara"
    "A Day in Guadalajara" Créé par: Cityseeker 12 Emplacements marqués Instituto de la Artesanía Jalisciense "See and buy handicrafts" The Institute is located at Parque Agua Azul, one of Guadalajara's most traditional sites. The aim of the Institute is to protect, preserve, exhibit and promote the state's handicraft traditions as a kind of co-operative retailer by Llanydd Lloyd on Unsplash for the state's artisans. On sale is everything from ceramics, blown glass and textiles, wrought iron to papier maché, silver pieces, traditional indigenous Huichol art and other crafts all from throughout the municipalities of Jalisco including Tlaquepaque, Sayula, Colotlán, Ciudad Guzmán, Tonalá and Talpa. +52 33 3030 9080 artesanias.jalisco.gob.mx [email protected] 20 Calzada González Gallo, Guadalajara Ex Convento del Carmen "Cultural center with a religious past" The ex-Convento del Carmen is one of the most beautiful places in Guadalajara, even though after almost being destroyed, only part of the main buildings and the chapel remains. It has been remodelled, however, and is definitely worth a visit. Today, the ex-Convento functions as a cultural center. Some of its halls display art exhibitions while others stage by alej+hern%C3%A1ndez plays, recitals and chamber music concerts. Dance performances are held in the main courtyard. +52 33 3030 1350 638 Avenida Juárez, Guadalajara Mural de la Biblioteca Iberoamericana Octavio Paz "Most outstanding of Mexican arts" Currently a library, this building previously was the temple of the Compañía de Jesus (Company of Jesus). The impressive mural found here was painted in 1917 by the internationally renowned muralist José David Alfaro Siqueiros and Amado de la Cueva, a Tapatío painter.
    [Show full text]
  • 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 .
    [Show full text]
  • 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? •
    [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]
  • Carlos Mérida 2019
    EXPOSICIONES INDIVIDUALES 1910 CARLOS MÉRIDA. Periódico El Economista. Guatemala. Guatemala. 1915 CARLOS MÉRIDA. Edificio Rosenthal. Guatemala, Guatemala. 1919 CARLOS MÉRIDA. El Diario de los Altos. Guatemala. Guatemala. 1920 INTROITO DE CARLOS MÉRIDA. Antigua Academia de Bellas Artes. México, D.F. 1926 CARLOS MÉRIDA. Academia Nacional de Bellas Artes. Guatemala. Guatemala. 1927 AQUARELLES/PEINTURES. Galerie Des Quatre Chemins. París, Francia. 1930 RECENT PAINTINGS AND AQUARELLES BY CARLOS MÉRIDA. Delphic Studios. Nueva York, NY, EUA. 1931 DIEZ ACUARELAS DE CARLOS MÉRIDA. Club de Escritores. México, D.F. 1932 CATORCE ACUARELAS RECIENTES. Galería Posada. México, D.F. 1935 PAINTINGS AND WATERCOLORS BY CARLOS MÉRIDA, CONTEMPORARY MEXICAN PAINTER. Katherine Kuh Gallery. Chicago, IL, EUA. 1936 MÉRIDA NEW OILS. Stendhal and Stanley Rose Galleries. Los Ángeles, CA, EUA. NEW PAINTINGS BY CARLOS MÉRIDA. Stendhal and Stanley Rose Galleries. Los Ángeles, CA, EUA. 1937 CARLOS MÉRIDA. Georgette Passedoit Gallery. Nueva York, NY, EUA. ÓLEOS, ACUARELAS, LITOGRAFÍAS DE CARLOS MÉRIDA. Departamento de Bellas Artes, Secretaría de Educación Pública. México, D.F. 1939 TEN VARIATIONS ON A MAYAN MOTIF. TEN PLASTIC CONCEPTS ON A LOVE THEME. The Katherine Kuh Gallery. Chicago, IL, EUA. TWENTY RECENT PAINTINGS. TEN VARIATIONS ON A MAYAN MOTIF. TEN PLASTIC CONCEPTS ON A LOVE THEME. Georgette Passedoit Gallery. Nueva York, NY, EUA. VEINTE PINTURAS RECIENTES. DIEZ VARIACIONES SOBRE UN ANTIGUO MOTIVO MAYA. DIEZ CONCEPTOS PLÁSTICOS SOBRE UN TEMA DE AMOR. Galería de Arte UNA. México, D.F. 1940 COLORED DRAWINGS, EIGHT VARIATIONS ON A MAYAN MOTIF, AND EIGHT PLASTIC CONCEPTS ON A LOVE THEME. Witte Memorial Museum. San Antonio, TX, EUA. 1942 EL CORRIDO DE LA MUSARAÑA, LA CUCAÑA Y LA CARANTOÑA.
    [Show full text]
  • V6n12-W68-Dec-1923-Liberator.Pdf
    Floyd Dell-We Are Proud 01 You! And You, Dear Beader, will be too when you read "JANET MARCR" You have relished with us Floyd Dell's unsurpassable book reviews. You have read his excellent contributions in the Liberator. The best of them all, "Literature and th~ Machine Age" is running now serially in The Liber­ ator. I am sure when you open this magazine each month that is the first thing you tum to. You know Floyd Dell thru his writings in the Liberator and you admire him. But, candidly, h~ new book Janet March is a great novel! It is about people that live TODAY. You see yourself, I see myself in it-his people are confronted with the problems that you and I are confronted with every day of our lives. We feel with them because they are we, and we are they. And our heroine, quivering, pulsating, healthy, stimulating, refreshing Janet March. An atom of life develops into a human being before your mind's eye and you fQllow its growth and development. Janet March brings with her all her inherited traditions and she absorbs all the influences of her own age-she learns by living. Thru her we witness the clash between old and new values in life. She is a sane and well balanced individual of whom we are always proud. She accepts life as she finds it and. she is determined to fit in-but always :she is honest with herself and at the ,upreme moment she leaps because she: wants to and-lands on her feet~ Tho you see in her, all girlhood and womanhood wrapped into one, she is nevertheless a person­ ality unto herself, she is JANET MARCH.
    [Show full text]