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2008 Spring.Pdf (1.161Mb) The Compass Special Collections The University of Texas at Arlington Library R SE Vol. XXII • No. 1 • Spring 2008 Hecho en Mexico: Special Collections Acquires Rare Lithographs By Ben Huseman exican printmaking antedates all M other printing in North America. An Italian immigrant in the service of Spain brought the first printing press in the Americas to Mexico City in 1539. Im- migrant printmakers produced woodcuts there in the early 1540s and copper en- gravings by 1598. Obviously, this not only predates the printing activities of some of the more familiar British colonial print- makers such as Ben Franklin and Paul Re- vere, it predates the existence of the British colonies. In 1781 the mint at Mexico City held its first formal engraving classes and by 1783 New Spain even had its own art academy in Mexico City where printmak- ing became part of the curriculum.1 Even with the political and social chaos wrought by Mexico’s insurrections and political infighting of the 19th century, [After Bvt. Major Joseph H. Eaton], Battle of Buena Vista, lithograph, by the firm of José Severo Rocha, Mexico City, ca. 1847. printing in Mexico City continued to reflect technological changes elsewhere. deed smaller? Did the fact that there were Mexico City.6 A fifth lithograph is a map For example, in 1826, Italian artist Clau- fewer Mexican victories to celebrate play a illustrating the battles around Mexico City. dio Linati introduced the printmaking role in this? How did Mexican middle class One of the battle images was complete- medium of lithography, which had been tastes differ from those in the U.S.? Did ly unknown to us and actually predates the 2 invented in Europe in 1798, to Mexico. war conditions and the U.S. Naval block- war. Entitled Heroica Defensa de Puebla, By the early 1830s Mexicans were forming ade affect the market and the availability of 1845, the composition, by H. Mendes (“H. lithography firms and producing excel- supplies before the U.S. Army’s occupation Mendes inbtr.” i.e., inventar) and drawn lent examples of the art themselves. The of Mexico City? How did political condi- on stone by Ortega (“Ortega dibu.” or lithographic revolution in printmaking tions inside Mexico affect this output? dibujar), is similar to images of Mexican that swept the United States at this time How did U.S. printmakers influence citizens suffering during the bombardment 3 also came to Mexico. Mexican printmakers, and vice versa? All of Veracruz in 1847 or defending the gari- Given this history and the large num- of these questions cannot be answered here tas or fortified gates of Mexico City during ber of lithographs produced in the United but are worth studying.5 the final assault of the U.S. Army under States during the U.S. War with Mexico Special Collections recently acquired General Scott later that year. Although of 1846-1848, one might expect Mexican several rare Mexican lithographs produced there was fighting in and around the city of printmakers to have produced more litho- around the time of the war that may aid in Puebla in 1847, the date of 1845 is appar- graphs relating to the war from a Mexican this study. Four of them are battle images, ently accurate. The print actually pertains perspective. However, this apparently did each of which bears the cryptic inscription to a siege of the city by forces loyal to the not happen, and much of their relatively “Lit. de R. C. de Tacuba no. 14”– denoting mercurial Mexican General and President small production was actually intended for that they were lithographed by the firm Antonio López de Santa Anna of Alamo 4 U.S. soldiers of the occupation. This raises of José Severo Rocha, a pioneer Mexican infamy, who was sporadically in and out of a number of obvious questions. Was the lithographer, whose establishment was office for much of the mid-19th century. At potential Mexican middle class market in- located in the Calle de Tacuba No. 14 in this time, a government headed by General Continued on page 2 Collaborating with Brenda on the exhibit The theme this year is “Revisualizing West- Update were UT Arlington Information Literacy ward Expansion: A Century of Conflict, Librarian Evelyn Barker, Hip Pocket 1800-1900.” Guest speakers include John from the Theater’s Diane Simons, and Special Col- Logan Allen of the University of Wyoming; lections’ Exhibits and Outreach Assistant, Samuel Truett of the University of New Coordinator Erin O’Malley. An article by Brenda and Mexico; Ronald Grim from the Boston Evelyn in this issue discusses the exhibit Public Library; Paul D. McDermott of By Ann E. Hodges and the Reeder School. Erin’s beautiful Montgomery College in Rockville, Mary- online exhibit can be seen at http://library. land; and John Hébert, Chief of the Geog- uta.edu/exhibits/spco/reeder/. raphy and Map Division of the Library of We continue to prepare for this fall’s Congress. An unusual number of events ecent activities in Special Collections Virginia Garrett Lectures on the History of offer plenty for this Column, and the R Cartography, to be held October 3, 2008. Continued on page 5 recent Library annual report proves that we really have been as busy as we have felt. Service statistics for the academic year ending August 2007 increased enormously Staff Spotlight over last year, with the number of researchers (2,023 for the year) up 58%, rin O’Malley began work as Spe- use of materials up 24%, the number of E cial Collections’ new Exhibits and reference questions answered up 54%, Outreach Assistant on December 3, class instruction up 42%, the number of 2007. She holds a Master of Arts degree in presentations given by staff up 5%, and history from the University of Missouri-St. tours of Special Collections up a striking Louis, with a graduate certificate in mu- addition to having designed the stunning 118%. And that doesn’t include the many seum studies. Her Bachelor of Arts degree exhibit, The Reeder Children’s Theatre other things we do, such as acquiring is from the University of Missouri, Colum- Presents . Memories of Fort Worth’s materials and preparing them for use, bia, where she majored in anthropology Reeder School, Erin also has created a participating in Library-wide activities and and minored in art history and archeol- wonderful online Reeder School exhibit initiatives, scanning images, and more. ogy. Before coming to UT Arlington, Erin (http://library.uta.edu/exhibits/spco/ “Time Frames,” a feature highlighting completed internships at the Mercantile reeder/) and has been working with the selections from our holdings, has reached Library in St. Louis and at the Western Virginia Garrett Lectures planning com- 67,000 households in the Arlington Star- History Association. mittee to arrange the 2008 conference. Telegram every Sunday morning for four After Christian Clark’s resignation She also serves on the Library’s exhibits years. Brenda McClurkin does the majority in July 2007 from the position Erin now committee and has assisted with several of the work, with assistance from Cathy holds, we were fortunate to be able to Library displays, and is working with Spitzenberger to prepare images and text. expand it from half-time to full-time. the curators of our fall exhibits for 2008. Brenda also co-curated the exhibit “The This enabled us not only to attract a larger Erin has brought talent, enthusiasm, and Reeder Children’s Theatre Presents… pool of applicants, but also to increase the technology skills to our staff, and we are Memories of Fort Worth’s Reeder School.” responsibilities assigned to the position. In delighted that she is here. The Compass Rose is published semi-annually by Special Collections, The University of Texas at Rare Lithographs Continued from page 1 Arlington Library, Box 19497, Arlington, Texas 76019-0497. ISSN 1065-9218 José Joaquin Herrera, supported by a usurpers”– as he might well have styled it Special Collections and other staff members civilian militia, deposed and replaced the himself. It would be helpful to know the who helped produce this issue are: 7 Ann Hodges (editor), Evelyn Barker, Maggie well-known dictator. political inclinations of the Rocha firm in Dwyer, Ben Huseman, Carolyn Kadri, Brenda Unfortunately, the image has no ac- order to know for sure. McClurkin, Erin O’Malley, Cathy Spitzenberger, companying text and is difficult to inter- A curious exchange that took place and Lea Worcester. pret. The “heroic defense” probably refers later during the war might hint at these The urposp e of The Compass Rose is to raise here to the Puebla garrison and citizen politics, which could be presumed to be awareness of Special Collections’ resources. The newsletter also reports significant new programs, militia who successfully resisted Santa moderate. The artist H. Mendes is un- 8 initiatives and acquisitions of Special Collections. Anna between January 1 and 10. However, doubtedly the same “H. Mendez” who Special Collections’ hours are 9 am to 7 pm on artists at the time often depicted Santa signed on stone an 1847 lithograph by the Monday and 9 am to 5 pm Tuesday - Saturday. Anna himself in the cockade and frock Rocha firm with the bilingual title: Vista de For special hours during intersession and holidays, coat of a Mexican general, similar to the Chapultepec y el Molino del Rey. Tomada en see http://library.uta.edu/about/locations.jsp#spco figure in the center of the print, so it is pos- la Casa de Mata. / View of Chapultepec and A compass rose is a circle graduated to sible, though unlikely, that the “defense” Molino del Rey.
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