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Madero and Sdarez Shot to Prison
--—1 A. i CAVALRY IN FRONT OF THE NATIONAL PALACE MMIfiwww THE MORRIS CO. CHRONICLE r k 1 nw A Thdr Arriral- !; ■ TT C ■ ■■■■ -— ■■■■»■■■-! MILITANTS PUN f < "I & SURDAM, Publishers. MADERO AND PIEHSON SDAREZ SHOT | MAIL J and Departure J* *Mm MORRISTOWN N. J. ATTACK ON KING DEAD ON WAY TO PRISON for Dispatch England Is In acute need of elastic British Royal Family in Fear Tim* of Closing of M»ll» window glass. at P. O., Morristown. , of * Suffragettes «.0« A. It. Now York and ba- skirted wom- The President ol Mexico and His Yice-Pres:d3nt Die De- Newark, However, as for hobble Deposed yond, and Whlppany. ’’ York en, how can she expect to "win In a T.f* s K. P. O. sast. Now and bsyond. walk?” on a " Including fenceless Ride from Palace to TERROR ■ M a R. P. O. west. Midn'git Penitentiary, NATION IS IN GREAT all Western states. Ill " *a New Jersey & Penn R. *» A Peruvian aviator to fly " proposes and the Whole Civilized World Stands 9.60 • Mt. Freedom. over the Alps. In a Peruvian bark, Aghast 9.66 Newark, New York and be- Two Women Are Captured—Throw* yond. probably. i 10.10 • Whlppany. When Ar- •• Books at Magistrate 1S.M a N. Y., Scranton A Buffala, K. P. O. including Dover, "Bashi-baxoukesses" may fit the raigned—Their Act Is Highly * Rookaway, Boonton, Wnar crime, but it’s altogether too hard to Vandals. ton, Succasunna, o Central GUARDS SAY THEY TRIED TO “ESCAPE” Applauded by Branch and all stations pronounce. -
Paradores & Pousadas
PARADORES & POUSADAS HISTORIC LODGINGS OF SPAIN & PORTUGAL April 5-19, 2018 15 days for $5,178 total price from Dallas-Fort Worth ($4,495 air & land inclusive plus $683 airline taxes and fees) This tour is provided by Odysseys Unlimited, six-time honoree Travel & Leisure’s World’s Best Tour Operators award. An Exclusive Small Group Tour for Alumni, Parents, and Friends of Texas Christian University Dear TCU Alumni, Parents, and Friends, Join us on a special 15-day small group journey to discover the best of the Iberian Peninsula in Portugal and Spain. Our special two-week journey offers captivating sights, excellent cuisine, and memorable experiences. We begin in Lisbon, where our touring includes iconic Belém Tower, then see the National Palace of Queluz. Next, we visit the Alentejo region, staying in charming Evora – a UNESCO World Heritage site – in one of Portugal’s finestpousadas . Crossing into Spain, we visit Mérida, which boasts outstanding Roman ruins. Then, we enjoy Seville, the UNESCO World Heritage site of Cordoba, and Granada’s extraordinary Alhambra and Generalife Gardens. Our group explores Toledo, Spain’s medieval capital, concluding our tour in sophisticated Madrid. Space on this exclusive TCU departure is limited to a total of just 24 guests and will fill quickly. We encourage you to reserve your place quickly. Frog for Life, Kristi McLain Hoban ’75 ’76 Associate Vice Chancellor, University Advancement Phone: 817-257-5427 [email protected] TCU RESERVATION FORM – PARADORES & POUSADAS Enclosed is my/our deposit for $______ ($500 per person) for ____ person(s) on Paradores & Pousadas depart- ing April 5, 2018. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Re-Conceptualizing Social Medicine in Diego Rivera's History of Medicine in Mexico: The People's Demand for Better Health Mural, Mexico City, 1953. Permalink https://escholarship.org/uc/item/7038q9mk Author Gomez, Gabriela Rodriguez Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Re-Conceptualizing Social Medicine in Diego Rivera's History of Medicine in Mexico: The People's Demand for Better Health Mural, Mexico City, 1953. A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Gabriela Rodriguez-Gomez June 2012 Thesis Committee: Dr. Jason Weems, Chairperson Dr. Liz Kotz Dr. Karl Taube Copyright by Gabriela Rodriguez-Gomez 2012 The Thesis of Gabriela Rodriguez-Gomez is approved: ___________________________________ ___________________________________ ___________________________________ Committee Chairperson University of California Riverside Acknowledgements I dedicate my thesis research to all who influenced both its early and later developments. Travel opportunities for further research were made possible by The Graduate Division at UC Riverside, The University of California Humanities Research Institute, and the Rupert Costo Fellowship for Native American Scholarship. I express my humble gratitude to my thesis committee, Art History Professors Jason Weems (Chair), Liz Kotz, and Professor of Anthropology Karl Taube. The knowledge, insight, and guidance you all have given me throughout my research has been memorable. A special thanks (un agradecimiento inmenso) to; Tony Gomez III, Mama, Papa, Ramz, The UCR Department of Art History, Professor of Native North American History Cliff Trafzer, El Instituto Seguro Social de Mexico (IMSS) - Sala de Prensa Directora Patricia Serrano Cabadas, Coordinadora Gloria Bermudez Espinosa, Coordinador de Educación Dr. -
Cultural Management in the National Palace of Mexico: Use and Heritage Conservation
Ge-conservación Conservação | Conservation Cultural management in the National Palace of Mexico: use and heritage conservation Lilia Teresa Rivero Weber Abstract: Conservation of Mexico National Palace is a complex labor, since implies the preservation, not only of the material aspects of the building and the objects contained within, but also all the immaterial values reflected on the walls of the structure that mirrors the historic continuity of Mexico and therefore part of the national identity. Due these conditions, National Palace is in our days the most emblematic and symbolical government building of the country. In order to preserve the monument, a comprehensive conservation-cultural management program has been developed and implemented, considering operational aspects of the monument management, that is also part of the cultural infrastructure of Mexico City, since this historical complex attracts around 340 000 visitors each year. In addition, among the Conservator´s Office strategy has been to promote collaboration between different actors involved with the use, operation and conservation of the monument, in which are included external governmental offices and academic institutions, both national and international. This collaborative approach has been crucial in order to implement the Management Program for the conservation of the monument. Key words: Cultural Management, Preventive Conservation, Strategic Planning. Gestión cultural en el Palacio Nacional de México: uso y conservación del patrimonio Resumen: La conservación del Palacio Nacional de México representa una labor compleja, ya que no solo contempla los aspectos materiales del edificio y los objetos contenidos en éste, sino que también todos los aspectos inmateriales del inmueble y que muestran la continuidad histórica de México, y por lo tanto, del desarrollo de la identidad nacional. -
The Reconstruction of Colonial Monuments in the 1920S and 1930S in Mexico ELSA ARROYO and SANDRA ZETINA
The reconstruction of Colonial monuments in the 1920s and 1930s in Mexico ELSA ARROYO AND SANDRA ZETINA Translation by Valerie Magar Abstract This article presents an overview of the criteria and policies for the reconstruction of historical monuments from the viceregal period in Mexico, through the review of paradigmatic cases which contributed to the establishment of practices and guidelines developed since the 1920s, and that were extended at least until the middle of the last century. It addresses the conformation of the legal framework that gave rise to the guidelines for the protection and safeguard of built heritage, as well as the context of reassessment of the historical legacy through systematic studies of representative examples of Baroque art and its ornamental components, considered in a first moment as emblematic of Mexico’s cultural identity. Based on case studies, issues related to the level of reconstruction of buildings are discussed, as well as the ideas at that time on the historical value of monuments and their function; and finally, it presents the results of the interventions in terms of their ability to maintain monuments as effective devices for the evocation of the past through the preservation of its material remains. Keywords: reconstruction, viceregal heritage, neo-Colonial heritage Background: the first piece of legislation on monuments as property of the Mexican nation While the renovation process of the Museo Nacional was taking place in 1864 during the Second Empire (1863-1867) under the government of the Emperor Maximilian of Habsburg, social awareness grew about the value of objects and monuments of the past, as well as on their function as public elements capable of adding their share in the construction of the identity of the modern nation that the government intended to build in Mexico. -
Paradores & Pousadas
PARADORES & POUSADAS HISTORIC LODGINGS OF SPAIN & PORTUGAL September 19-October 3, 2020 15 days for $4,974 total price from Washington, DC ($4,395 air & land inclusive plus $579 airline taxes and fees) An Exclusive Small Group Tour for Members of the Virginia Museum of Fine Arts Dear VMFA Members, Join VMFA on an exclusive 15-day small group journey to discover the best of the Iberian Peninsula. Enjoy cap- tivating sights, excellent cuisine, and memorable experiences while traveling overland from Lisbon to Madrid. Begin with an exploration of Lisbon, including iconic Belém Tower and the National Palace of Queluz. Next, visit the Alentejo region, staying in one of Portugal’s finestpousadas in charming Evora – a UNESCO World Heritage site. Crossing into Spain, you’ll see Mérida, with its outstanding Roman ruins. Enjoy visits to Seville, the UNESCO World Heritage site of Cordoba, and Granada’s extraordinary Alhambra and Generalife Gardens. Explore Toledo, Spain’s medieval capital, before concluding your tour in sophisticated Madrid. For those guests wishing to visit Spain’s bustling cultural and commercial capital, an optional four-day/three-night post-tour “Barcelona – On Your Own” extension is available. Space on this exciting program is limited to only 24 guests and will fill quickly. Your early reservations are encouraged to secure your place on what promises to be an unforgettable tour! Sincerely, Adele “Hutch” Livingston Coordinator of Member Travel VMFA RESERVATION FORM: PARADORES & POUSADAS Enclosed is my/our deposit for $______ ($500 per person) for ____ person(s) on Paradores & Pousadas, departing September 19, 2020. I/We understand the final payment is due at least 95 days prior to departure. -
M U R a L I S M Identity & Revolution January 30 - February 29, 2020
M U R A L I S M Identity & Revolution January 30 - February 29, 2020 1.XXX Tina Modotti XXX Diego Rivera Mural, "The World Today and Tomorrow", Palacio Nacional, Mexico City 1929-1935 Gelatin Silver Print 7 3/8 x 9 1/2 in. n.s (Inv# 73859) 2.XXX Tina Modotti XXX "Sickle, Bandolier & Guitar" ca. 1927 Platinum print 6 7/8 in. x 8 3/4 in. 5/30 Signed, titled and dated on recto and verso (Inv# 64908) 3.XXX Edward Weston XXX Tina Reciting 1926 Gelatin silver print, printed later 9 1/2 x 7 1/4 in. Printed by Cole Weston (Inv# 32799) 4.XXX Florence Arquin XXX Frida Kahlo with Corset Painted with Fetus and Hammer & Sickle. 1951 Gelatin silver print 10 x 8 in. n.s (Inv# 60897) 5.XXX Lucienne Bloch XXX Frida in Front of Proletarian Unity from the mural "Portrait of America" for the New Workers School, NY 1933 Gelatin Silver Print 11 1/2 x 7 1/2 in. Signed in pencil on recto (Inv# 76522) 6.XXX Anonymous XXX Mural by David Alfaro Siqueiros, De Porfirismo a la Revolucion (From the Dictatorship of Porfirio Díaz to the Revolution) Chapultepec Castle, Chapultepec Park, Mexico City 1944 Gelatin silver print 8 x 10 in. Labeled on verso (Inv# 60001) 7.XXX Guillermo Zamora XXX David Alfaro Siqueiros 1946 Gelatin silver print 13 1/2 x 10 1/2 in. n.s (Inv# 100769) 8.XXX Héctor García XXX José Clemente Orozco 1945 Gelatin silver print, printed 1996 14 x 11 in. -
The Work of Jorge González Camarena, the History Of
University of New Mexico UNM Digital Repository Art & Art History ETDs Electronic Theses and Dissertations 12-1-2015 Narratives of Violence and Tales of Power: The Work of Jorge González Camarena, the History of the Castillo de Chapultepec, and the Establishment of the National Museums in the Project of Mexican Nationalism Rebekah Bellum Follow this and additional works at: https://digitalrepository.unm.edu/arth_etds Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Bellum, Rebekah. "Narratives of Violence and Tales of Power: The orkW of Jorge González Camarena, the History of the Castillo de Chapultepec, and the Establishment of the National Museums in the Project of Mexican Nationalism." (2015). https://digitalrepository.unm.edu/arth_etds/28 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Art & Art History ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Narratives of Violence and Tales of Power: The Work of Jorge González Camarena, the History of the Castillo de Chapultepec, and the Establishment of the National Museums in the Project of Mexican Nationalism Rebekah C. Bellum December 2015 Jorge González Camarena, La Fusión de Dos Culturas, 1963, National Museum of History, Mexico City Rebekah Carmen Bellum Candidate Art and Art History Department This thesis is approved, and it is acceptable in quality and form for publication: -
Myth and Experience in Mexico's 1968 Student Movement
UNIVERSITY OF CALIFORNIA, SAN DIEGO The Dividing Line: Myth and Experience in Mexico’s 1968 Student Movement A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Sara Katherine Sanders Committee in Charge: Professor Michael Monteón, Chair Professor Christine Hunefeldt, Co-Chair Professor Milos Kokotovic Professor Everard Meade Professor Eric Van Young 2011 Copyright Sara Katherine Sanders, 2011 All rights reserved. The dissertation of Sara Katherine Sanders is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Co-Chair ________________________________________________________________________ Chair University of California, San Diego 2011 iii TABLE OF CONTENTS Signature Page ……………………………………………………………………….. iii Table of Contents ……………………………………………………………………. iv Chronology of Major Events ………………………………………………………... v Organizations and Acronyms ………………………………………………………... vii Acknowledgements ………………………………………………………………….. viii Vita ………………………………………………………………………….………. xi Abstract ……………………………………………………………………………… xii Introduction ………………………………………………………………………….. 1 Chapter 1: The Meaning and Practice of a Student Politics …………………………. 50 Chapter 2: ―To the Streets -
Kitagawa Tamiji's Art and Art Education
KITAGAWA TAMIJI’S ART AND ART EDUCATION: TRANSLATING CULTURE IN POSTREVOLUTIONARY MEXICO AND MODERN JAPAN By Copyright 2017 TAKAAKI KUMAGAI Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy ________________________________ Chairperson: Maki Kaneko ________________________________ David Cateforis ________________________________ Sherry Fowler ________________________________ Elaine Gerbert ________________________________ Amy McNair Date Defended: April 7, 2017 The Dissertation Committee for Takaaki Kumagai certifies that this is the approved version of the following dissertation: KITAGAWA TAMIJI‘S ART AND ART EDUCATION: TRANSLATING CULTURE IN POSTREVOLUTIONARY MEXICO AND MODERN JAPAN _____________________________ Chairperson: Maki Kaneko Date approved: April 7 2017 ii Abstract This dissertation investigates the life and career of the Japanese painter, printmaker, and art educator, Kitagawa Tamiji (1894-1989), and his conception of Mexico as cultural Other. Today, Kitagawa is widely recognized in Japan as an artist and educator, whose thought and practices were deeply inspired by his long-term residence in postrevolutionary Mexico (1921-1936). Kitagawa left Japan at the age of twenty to study art in the United States. After engaging in several temporary jobs and briefly being trained at the Art Students League of New York, he went to Mexico in 1921, to eventually spend the next decade and a half working as an artist and art educator. Kitagawa‘s conception and narrative of Mexican culture—especially that of the Mexican indigenous population—are noteworthy for an early twentieth-century artist/intellectual. Rather than seeing Mexico in terms of its widespread stereotype as a distant tropical country, he regarded the country as a key locus of the emerging anti-colonial notion of culture. -
On the Diffusion of Modernist Urban Models: an Overview of Mexico City’S Planning and Urban Design Projects (1921-1952) Fernando N
www.planum.net The European Journal of Planning On the Diffusion of Modernist Urban Models: An Overview of Mexico City’s Planning and Urban Design Projects (1921-1952) Fernando N. Winfield Reyes1 by Planum, January 2010 (ISSN 1723-0993) 1 Fernando N. Winfield Reyes Faculty of Architecture, Universidad Veracruzana (UV), Mexico Email: [email protected] Abstract This paper identifies critical international sources for conceptual and practical inspiration followed and assimilated by Mexican urbanists during the first half of the twentieth century. It focuses on the diffusion of Modernist urban models and their progressive incorporation and adaptation at the scales of city planning and urban design. The way in which Modernist urban models were known, interpreted and adapted to practice to meet social needs also enticed attempts to construct a cultural identity, regarded both as ‘modern’ and as ‘Mexican’. In particular, this issue is crucial to an understanding of some of the most relevant urban projects designed in Mexico during the post-revolutionary period (1921-1952), a time of great expectations for social change, for growing nationalism and confidence in progress. During the period reviewed, the diffusion of Modernist urban models provided solutions which were followed and tested against Mexican circumstances. However, unlike scientific or technological experiences developed in other fields of knowledge, which were normally transposed to generate patterns of use without further cultural criticism, those related to urbanism required adaptation to local customs, climatic conditions, economic, geographic and environmental situations, as well as social and political visions. Thus, the use of Modernist urban models generated in the end different outcomes when compared to the outcomes of more developed countries (such as France, United States and Britain). -
Academies and History Painting
2 Academies and History Painting :-HE ROYAL ACADEMY of San Carlos in Mexico City, founded in -~s, was the first academy of art in America, and the only one tablished under colonial rule. It was a great, if disconcerting, sue ' for the independence it acquired from its mother institution, ·.t1e San Fernando Academy in Madrid, was regarded in Spain as a _.,.olitical error'. l Indeed, Humboldt's description of the vigorous d productive democracy in the Academy suggests that it was not _,.,ignificant in fostering ideas that led eventually to Mexico's poli ·~cal independence. Humboldt's account was recalled under sadly different circum- ·ances in the 1830s by Frances Calderon de la Barca: He tells us that every night, in these spacious halls, well illu mined by Argand lamps, hundreds of young men were assem bled, some sketching from plaster-casts, or from life, and others copying designs of furniture ... and that here all classes, colours and races were mingled together; the Indian beside the white boy, and the son of the poorest mechanic beside that of the rich es t lord. Teaching was gratis, and not limited to landscape and figures, one of the principal objects being to propagate amongst the artists a general taste for elegance and beauty of form, and to enliven the national industry. Plaster-casts, to the amount of forty thousand dollars, were sent out by the king of Spain, and as they possess in the Academy various colossal statues of basalt and porphyry, it would have been curious, as the same learned traveller remarks, to have collected these monuments in the courtyard of the Academy, and compared the remains of Mexican sculpture, monuments of a semi-barbarous people, with the graceful creations of Greece and Rome.