Published by Editorial RM. Foreword by Gregory Dechant. Text by Mercurio López Casillas.
Over the past two centuries, Mexican culture has kept up a unique dialogue with the fact of death, rather than defying it as most contemporary cultures are wont to do. Today, Mexico even boasts a Museum of Death (in Aguascalientes), filled with pre-Columbian sculpture and pottery, reproductions of ancient Indian codices depicting human sacrifices, colonial-era artworks, skeletons, artisan’s toys and works by the countless Modern artists who have treated the theme. It is, of course, in Mexico’s arts that the blend of respect and irreverence for death and the afterlife is made most clear. Here, Mercurio López Casillas, expert on nineteenth-century Mexican graphic art and the author of studies of José Guadalupe Posada and Manuel Manilla, surveys the subject from pre-Hispanic times to the comic pages of contemporary Mexican newspapers. López Casillas examines the long tradition of representing death and skeleton figures that leads up to Posada, and traces the influence of this great popular engraver in the work of many other twentieth-century artists, including those of the Taller de Gráfica Popular workshop, like Leopoldo Méndez. Readers of this richly illustrated book will also be fascinated by early colonial examples of calaveras, or skeleton caricatures. Images of Death is a colorful and lively deterrent against our habitual inclination to take the Grim Reaper too seriously. For enthusiasts of Mexican folk art, underground comics, tattoo art, the occult and more.
Published by RM/CONACULTA. Text by Salvador Albiñana, Juan M. Bonet, Deborah Dorotinsky, Marina Garone.
This volume is an expanded edition of the most important study ever published on modern illustrated books in Mexico. Mexico Illustrated 1920–1950 explores the illustration and poster work of great Mexican artists from the first half of the twentieth century, offering a selection of the finest illustrations from books, magazines and posters published in this era. Reflecting the range of aesthetic, pedagogical, political and propagandistic trends that held sway in Mexico at the time, it contains works relating to the Mexican Revolution, illustrations made for socialist writings and art drawn from novels and children's books, along with a great many contributions to magazines that oscillated between the avant-garde and the construction of a new vision of Mexico. Among the artists included here are some of Mexico's greatest artistic talents—Diego Rivera, José Clemente Orozco, Rufino Tamayo, David Alfaro Siqueiros—along with lesser-known artists such as Ramón Alva de la Canal, Jean Charlot, Miguel Covarrubias, Dr. Atl, Gabriel Fernández Ledesma and Leopoldo Méndez. With more than 300 illustrations, Mexico Illustrated includes essays by Juan Manuel Bonet, Mercurio López Casillas, Dafne Cruz and Marina Garone, who elucidate the relations between Mexico and the European avant-garde movements, the socialist aesthetic, children's literature, graphic design and the cartography of postrevolutionary Mexico.
Published by RM. Edited by Pablo Ortiz Monasterio. Text by James Oles, Horacio Fernandez, Masayo Nonaka, Laura González, Mauricio Ortíz, Gerardo Estrada, Rainer Huhle, Gaby Franger.
When Frida Kahlo (1907-1954) died in 1954, her husband Diego Rivera asked the poet Carlos Pellicer to turn her family home, the fabled Blue House, into a museum. Pellicer selected some paintings, drawings, photographs, books and ceramics, maintaining the space just as Kahlo and Rivera had arranged it to live and work in. The rest of the objects, clothing, documents, drawings and letters, as well as over 6,000 photographs collected by Kahlo over the course of her life, were put away in bathrooms that had been converted into storerooms. This incredible trove remained hidden for more than half a century, until, just a few years ago, these storerooms and wardrobes were opened up. Kahlo's photograph collection was a major revelation among these finds, a testimony to the tastes and interests of the famous couple, not only through the images themselves but also through the telling annotations inscribed upon them. Frida Kahlo: Her Photos allows us to speculate about Kahlo's and Rivera's likes and dislikes, and to document their family origins; it supplies a thrilling and hugely significant addition to our knowledge of Kahlo's life and work.
Published by RM/BBVA. Text by Juan Villoro, Mercurio López, Helia Bonilla, Montserrat Gali, Rafael Barajas.
To celebrate the 100th anniversary of Posada’s death, A Century of Skeletons collects nearly 1,000 reproductions of original prints, including dozens of engravings never before published. Over the last century, Posada’s satirical illustrations with their signature "calaveras," or skeletons, have become synonymous with the imagery of Mexico’s Day of the Dead celebrations. Often guised in various costumes, such as the Calavera de la Catrina, the "Skull of the Female Dandy," Posada’s Calaveras also satirized the lifestyle of the Mexican upper classes during the reign of Porfirio Díaz. His prints and lithographs utilize a distinctive blend of black, white and middle tones and his works in type metal, zinc and wood make dramatic use of proportion and disproportion. Reflecting on various aspects of Posada’s life and work, this volume contains essays by Juan Villoro, Helia Bonilla, Monserrat Galí and Rafael Barajas, as well as a study by Mercurio López that organizes a significant part of Posada’s work chronologically, and with regard to the printmaking techniques employed. It also includes two complementary sections: one examining the technical transition from lead to zinc in engraving and a second giving examples of the iconographical sources for Posada’s work. José Guadalupe Posada (1852–1913) studied lithography as a young man and opened a commercial print shop in the 1870s, focusing on advertising, book illustration and broadsides. After the shop was destroyed in a flood, Posada relocated to Mexico City and began moving toward cheaper methods of printmaking. It was there that Posada began contributing his satirical cartoons to news flyers and periodicals, using his adept imagery to communicate with a largely illiterate public. Though he died virtually unknown, Posada has been acknowledged by Diego Rivera and José Clemente Orozco as the godfather of modern Mexican art.
The second half of the nineteenth century was, famously, a golden age for children's literature-in Mexico as well as in North America and Europe. José Guadalupe Posada (1851-1913) and Manuel Manilla (1839-1895) are the two leading icons of children's illustration in Mexico, and together they developed a huge body of engravings and illustrations for cheap, ephemeral, "penny press" collections of Mexican fairy tales. In the early part of the last century, these fragile publications-once so ubiquitous and loved-received scant attention, until they were brought to a wider audience in the 1930s by the French artist Jean Charlot (who encountered them while visiting Diego Rivera). Published on the 100th anniversary of Posada's death, Illustrations for Mexican Fairy Tales gathers these vibrantly colorful works by both artists for the first time, many of which were done for the famous Mexican penny press publisher Antonio Vanegas Arroyo. Affordably priced, and with a wealth of color reproductions throughout, this extremely giftworthy collection includes a facsimile reprint of one of Posada's most beautiful and acclaimed booklets as well as an essay by the respected curator, collector and writer Mercurio Lopez Casillas.
Published by The Museum of Modern Art, New York. Text by James Oles.
At the forefront of Mexico's social revolution in the first half of the twentieth century were three artists whose murals resonated throughout the Americas and beyond: José Clemente Orozco, Diego Rivera and David Alfaro Siqueiros. This volume looks at ten important works by these artists from the collection of The Museum of Modern Art.
Published by RM. Introduction by Frances Toor. Text by Diego Rivera.
Originally published in 1930, Posada: Monografía is a facsimile edition of the first monograph of the great Mexican illustrator and engraver José Guadalupe Posada (1852–1913). Reprinted to coincide with the 100th anniversary of his death, reproduces more than 400 of the most iconic prints from Posada’s vast output, collected by Pablo O’Higgins from those that could be located and identified at the time. Posada and Manuel Manilla--a talented engraver who greatly influenced Posada--were the two artists of their day who best interpreted the lives and social attitudes of Mexican people. Posada, in particular, is in the great tradition of illustrators who double as political and social commentators (a tradition that also includes Aubrey Beardsley and Honoré Daumier). The images of the high-spirited, at times macabre broadsheets reproduced in Posada: Monografía include the famous calaveras, or skeleton creatures, along with illustrations for songs, corridos (traditional ballads) and religious prayers. The skeletons in the barrios were a metaphor for a corrupt society; Posada supplemented his black humor with lampoons of venal politicians, and, not surprisingly, was jailed on several occasions for his transgressions. With their striking visual qualities, his ingenious images did much to enrich the tradition of the popular Mexican print. Posada: Monografía also includes an introduction by Frances Toor, the legendary editor of Mexican Folkways magazine, and an essay by Diego Rivera.
Published by Art Gallery of Ontario/High Museum of Art Atlanta. Edited by Dot Tuer, Elliott King.
Frida Kahlo (1907–1954) and Diego Rivera’s (1886–1957) legendary passion for each other and for Mexico’s revolutionary culture during the 1920s and 1930s have made them among the twentieth century’s most famous artists. During their life together as a married couple, Rivera achieved prominence as a muralist artist, while Kahlo’s intimate paintings were embraced by the Surrealist movement and the Mexican art world--but neither were especially well known in the broader context of art and modernism. After their deaths in the 1950s, important retrospectives of Kahlo’s work enshrined her as one of the most significant women artists of the twentieth century, somewhat eclipsing Rivera’s international fame as Mexico’s greatest muralist painter. Frida & Diego: Passion, Politics and Painting offers a new perspective on their artistic significance for the twenty-first century, one that shows how their paintings reflect both the dramatic story of their lives together and their artistic commitment to the transformative political and cultural values of post-revolutionary Mexico. Frida & Diego features newly photographed color reproductions of 75 paintings and works on paper by both Kahlo and Rivera, rarely reproduced archival photographs and new biographical information on the couple assembled by scholar Dot Tuer. It is published on the occasion of an exhibition assembled from three distinguished Mexican private collections on Mexican art, and presented at the Art Gallery of Ontario and the High Museum of Art Atlanta.
PUBLISHER Art Gallery of Ontario/High Museum of Art Atlanta
BOOK FORMAT Clth, 8.25 x 10.25 in. / 96 pgs / 80 color.
PUBLISHING STATUS Pub Date 1/31/2013 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2013 p. 58
PRODUCT DETAILS ISBN 9781894243711TRADE List Price: $35.00 CDN $40.00
Published by Silvana Editoriale. Edited by Dario Cimorelli, Riccardo Costantini. Text by Pino Cacucci, Marianna Figarella, Gianni Pignat.
Photographer, actress, political activist, writer and muse to artists such as Edward Weston and Diego Rivera, Tina Modotti (1896–1942) produced an astonishing body of work during her relatively brief photographic career. She was active for only nine years, from 1923 to 1932, at which point she turned her focus exclusively to political action. A vital participant in the cultural and political ferment of the Mexican Renaissance, Modotti was expelled from Mexico for her Communist affiliations, moved to Moscow, worked in Spain during the Spanish Civil War and eventually returned to Mexico under a pseudonym. Tina Modotti includes 100 of the artist's black-and-white photographs (presented here in exquisite four-color reproductions), and paints a vivid, multifaceted portrait of this extraordinary woman.
PUBLISHER Silvana Editoriale
BOOK FORMAT Paperback, 9 x 11 in. / 160 pgs / 100 color.
PUBLISHING STATUS Pub Date 6/23/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2015 p. 112
PRODUCT DETAILS ISBN 9788836628759TRADE List Price: $38.00 CDN $50.00
AVAILABILITY In stock
in stock $38.00
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Published by Turner/A&R Press. Foreword by Homero Ardis.
When author Phyllis La Farge and photographer Magdalena Caris recently took a journey from the city of Xalapa in the state of Veracruz to the town of Coatepec, they noted that on the facades of countless public and private buildings, improvised murals had been painted. The wit and exuberance of these wall paintings, whether commercial or simply decorative, suggested an urban visual lingo that could be traced to the ancestral murals of pre-Columbian Mexico, and La Farge and Caris decided that they deserved closer study. Somewhere between a scholarly investigation and a travel book, Painted Walls of Mexico documents these often anonymous interventions. As Homero Aridjis writes in the preface, "Painted Walls is not only an invaluable testimony to this undervalued art which is disappearing from our streets, but honors the unknown artists who, with humor and imagination but without the slightest recognition, convert the streets of their town into an open gallery."