Carlos Mérida 2019
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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. -
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. -
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. -
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. -
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. -
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. -
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? • -
Exhibition Backgrounder
^ Exhibition Backgrounder Exhibition: Rufino Tamayo: Innovation and Experimentation On View: December 21, 2019–July 11, 2020 | Saturdays, 1–4 pm Location: Charles White Elementary School | 2401 Wilshire Boulevard, Los Angeles, CA 90057 Image captions on page 3 The Los Angeles County Museum of Art (LACMA) presents Rufino Tamayo: Innovation and Experimentation. Rufino Tamayo (1899–1991) was a leading Mexican artist of the 20th century who achieved international acclaim. Though he was known primarily for his paintings and murals, he also created a robust body of works on paper, which provided an important avenue for formal and technical innovation. Drawn exclusively from LACMA’s holdings, the exhibition highlights Tamayo’s engagement with printmaking and also includes a selection of Mesoamerican sculpture (an important source of inspiration for the artist) from the museum’s collection. Spanning over 60 years of his prolific career, Rufino Tamayo: Innovation and Experimentation focuses on Tamayo’s longstanding interest in prints as a means of exploring new techniques and furthering experimentation. On view December 21, 2019–July 11, 2020, the exhibition is presented at LACMA’s art gallery at Charles White Elementary School. The exhibition is curated by Rachel Kaplan, LACMA’s assistant curator of Latin American art. As part of the exhibition, Los Angeles-based artist Raul Baltazar will be working with the Charles White Elementary School students on a collaborative art installation inspired by Tamayo’s artwork. The installation will be a work in progress through the end of the 2019–20 school year. Baltazar is an alumnus of Otis College of Art and Design, formerly located at what is now Charles White Elementary School. -
An Art Lover's
A custom-designed tour by International Seminar Design, Inc. © for Smith College An Art Lover’s MEXICO Art, Archaeological & Architectural Treasures of Mexico City & Oaxaca NOVEMBER 9–16, 2018 INTERNATIONAL SEMINAR DESIGN, INC. | 4115 Wisconsin Avenue, NW, Suite 101, Washington, DC 20016 | (202) 244-1448 | [email protected] Recommended Tour Dates: November 9–16, 2018 DAY ACTIVITY ACCOMMODATION MEALS 1 USA to Mexico City Four Seasons D.F. D 2 Mexico City Four Seasons D.F. B, L 3 Mexico City Four Seasons D.F. B, L, R 4 Mexico City to Oaxaca Quinta Real B, L, D 5 Oaxaca Quinta Real B, L, R 6 Oaxaca Quinta Real B, L 7 Oaxaca Quinta Real B, L, D 8 Departure to USA — B B = Breakfast, L = Lunch, D = Dinner, R = Reception Suggested Custom Itinerary Friday, November 9 USA / Mexico City • Fly to Mexico City. • Transfer independently to the Four Seasons D.F., Mexico City’s most luxurious five-star hotel, ideally situated by the entrance of Chapultepec Park. • In the late afternoon, gather in the hotel’s lobby and walk to the incomparable National Anthropology Museum, probably the crown jewel of all Latin American cultural institutions. Our guide will provide a whirlwind tour of the very best relics and artworks from the many civilizations that thrived in various parts of Mexico, including the Olmecs, Aztecs, Maya, and Zapotecs. • Enjoy an elegant welcome dinner in the Four Season’s superb Zanaya restaurant on the private outdoor terrace. The food is mostly seafood from the state of Nayarit. The seasonings and the local “zarandeado” cooking style place this restaurant at the top of Mexico City’s list of best places to dine. -
Family, The, Rufino Tamayo
Tamayo, Rufino, The Family, Accession # 60.4 North America, Mexico oil on canvas 1936 G-376 Social/Historical Context Mexican writer Octavio Paz describes his country as having an “invisible history”--specifically, the Aztec model of domination, ritualism and human sacrifice, which continues to affect events and attitudes in the present. Mexico is part modern and part ancient, half Indian and half Spanish, Paz says. “Duality is not something added, artificial or exterior: it is our constituent reality.” No Mexican artist has better expressed that reality than Rufino Tamayo. While some of his subjects and his choice of colors were informed by Mexican art and culture, his flattened compositions and abstract forms derive from European modernism. Tamayo was at odds with the politically motivated narrative paintings of the Mexican muralists —Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros—whose work was shaped by the 1910 Mexican Revolution, and the continued belief that art should serve revolutionary ideals. Tamayo sought to create a more universal art form based on modernist principles. "I had difficulties with the Muralists, to the point that they accused me of being a traitor to my country for not following their way of thinking," said Mr. Tamayo. "But my only commitment is to painting. That doesn't mean I don't have personal political positions. But those positions aren't reflected in my work. My work is painting." Tamayo said, “my country is tragic. It is tragic because of a long history of foreign domination since the Spaniards. Such circumstances can hardly be expected to produce happiness. -
Manuel Rodríguez Lozano, the Mexican "Purist"
Manuel Rodríguez Lozano, the Mexican “Purist”1 Alejandra Ortiz Castañares ABSTRACT Little is known about Mexican painter Manuel Rodríguez Lozano’s stay at An- dré Lhote’s academy, apart from a precious letter that is kept today at Lhote’s archive in Le Raincy, testifying that he and his friend Julio Castellanos un- doubtedly met him. That moment marked a watershed in Lozano’s career and visibly improved his technical skills, which led a few years later to the matura- tion of his distinguishably clean and essential style, underscored at that time by the term of “purism,” that had been obliterated by history. Given that Lozano’s formative development has not been discussed in rela- tion to cubism, this essay sets out to discuss André Lhote’s pedagogy as influ- ential and directional for the Mexican artist in developing a unique style. Introduction Manuel Rodríguez Lozano (1891-1971) can be seen as a symbolic figure of the Mexican modernist counterculture. He denied any of the principles that sustained the muralist movement based on moral, political or educative purposes. He in- stead, vindicated the faith of “Art for art’s sake,” focusing on the fundamental sources of art itself. Lozano always worked in the margin: his cosmopolitanism, his homosexuality and his non-communist affiliation differed from the nationalist, politicised and virile imprint of the post revolution era. Such a choice was seen in that historical, national- istic period not as unconventional but quite the opposite, as purely reactionary. 1 All the texts quoted were originally in Spanish and translated into English by the author. -
Emerging Artists from Mexico and Latin America Abel Jiménez
Emerging Artists from Mexico and Latin America Biography Notes Abel Jiménez Abel Jiménez was born in Oaxaca (Mexico) in 1955. He trained at La Esmeralda School of Arts under the guidance of professors Arturo Estrada and Arnold Belkin. His work has been shown in most galleries in Mexico City as well as in the United States, France, Argentina, Puerto Rico and Bolivia. Abel’s paintings have been seen in collective exhibitions alongside masters such as David Alfaro Siqueiros, José Clemente Orozco, Raúl Anguiano, Francisco Toledo, Feliciano Béjar or José Luis Cuevas. His work also features in private collections in Germany, Brazil, Italy, Spain, Japan, and Poland. Abel has been recognized as a member of the Mexican Plastic Arts Salon, where he has exhibited his work throughout the years. He is also a member of ARTAC, UNESCO’s International Association of Art. Alfonso Martí Alfonso Marti, an architect by training, was born in Guadalajara (Mexico) in 1973. From a very young age Alfonso felt attracted to the arts and, years later, he would choose this path: he studied both music and painting in Rome and Paris In France he had an exceptional start to his painting career when the Mayor of Paris inaugurated his first solo show, and pop singer and former Dali muse Amanda Lear became one of his collectors. Nowadays Alfonso lives in San Miguel de Allende (Mexico). His work has been shown in solo and collective exhibitions in Mexico, Miami, Rome and Paris. Through his art Alfonso seeks to reconcile age-old techniques used by classical painters with contemporary visual synthesis, while seeking to erase the line between art and life.