Artist: José Guadalupe Posada (Mexican, 1851–1913).
Shows Francisco I. Madero riding on the horse. With Zapata standing by his side holding the flag of Mexico. It belongs to the broadsheets category of Posada's print.
Francisco Madero rose to become the most popular contender to the presidency of Porfirio Díaz. As the 1910 elections drew near, Díaz imprisoned Madero and won re-election for his eighth term. Following the election Madero escaped from prison and fled to Texas where he plotted a revolution. In early 1911 he re-entered Mexico at Ciudad Juárez, took command of the revolutionary armies, and swiftly progressed in a grand march across Mexico. His triumphal entry into the capital was celebrated with vigorous exaltation.
Image source: https://www.ebay.com/itm/Jose-Guadalupe-Posada-Original-Engraving-GRAN-MARCHA-TRIUNFAL-/153160148194
Fair academic use only. Posted according to section 108 of title 17 of the United States Code, §201.14: Warnings of copyright for use by individual libraries and archives.
Attribution:
Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
José Guadalupe Posada (Mexican, 1851–1913).
The image to the left is the way Posada's workshop looked about 1899. It is one of two photo images we have of the artist. Posada is on the right and it is generally agreed that the young man is Posada's son Juan Sabino Posada Vela who died in 1900. In our search for Posada we now believe that we know the identity of the third person in the photo. In the image below we see historians Agustín Sánchez González and Helia Emma Bonilla Reyna in front of the workshop as it is today. It is about three blocks from Mexico City's zocolo.
Source: Posada Art Foundation, San Francisco.
https://curator-jgposada.blogspot.com/2013/02/searching-for-posada-his-workshop-on.html
Fair academic use only. Posted according to section 108 of title 17 of the United States Code, §201.14: Warnings of copyright for use by individual libraries and archives.
Attribution:
The Posada Art Foundation, San Francisco, California.
Artist: Artemio Rodriguez (1972-)
Title: Somos parte (1994)
Linocut, 18 x 15 cm.
This particular piece acquires special significance in light of the current Presidential directive of construing the wall. What does an American dream mean? Artemio interrogates the complex realities of many undocumented workers who basically go through a series of trials to cross the border in search of the elusive dream. American dream as an idea has attracted not only the migrants from Latin America, but also from the rest of the world.
edition 36/40, pencil signed and dated lower right, titled center margin
Fair academic use only. Posted according to section 108 of title 17 of the United States Code, §201.14: Warnings of copyright for use by individual libraries and archives.
Author Funes, Ofelia A.
Title Catalogación de la obra de José Guadalupe Posada perteneciente al patrimonio del Museo Nacional del Grabado / Ofelia A. Funes, Inés Pérez Hiriart.
Published [Buenos Aires] : Dirección Nacional de Patrimonio Cultural, Secretaría de Cultura, Presidencia de la Nación, [1999?]
Main (Gardner) Stacks
NE546.P6 A4 1999
Posted pursuant to section 108 of title 17 of the United States Code, §201.14: Warnings of copyright for use by certain libraries and archives.
José Guadalupe Posada : 150 años = José Guadalupe Posada : 150 years
Author: José Guadalupe Posada; Artemio Rodríguez; Julie Logan; Silvia Capistrán
Publisher: Los Angeles, Ca. : La mano Press ; México : Editorial RM, 2003.
Series: Art history, México, bilingüal =Historia del arte, México, bilingüe.
Fair academic use only. Posted according to section 108 of title 17 of the United States Code, §201.14: Warnings of copyright for use by individual libraries and archives.
Artist: Artemio Rodriguez, Pátzcuaro. One way to promote art is through illustrating through different media. Artemio Rodriguez transports his skills of linocut by illustrating a vintage classic car. Fair academic use only. Posted according to section 108 of title 17 of the United States Code, §201.14: Warnings of copyright for use by individual libraries and archives.
Artist: Manuel Manilla, (b. in Mexico City, 1830, d. 1895).
Title: El bandido: coleccion de canciones para 1895.
Cuadernillos (chapbooks), chiefly published by the press of Antonio Vanegas Arroyo. Since Manilla passed away in 1895, it is difficult to attribute this engraving to him.
Posted under section 108 of title 17 of the United States Code, §201.14: Warnings of copyright for use by certain libraries and archives.
Attribution:
Antonio Vanegas Arroyo (Firm) - Manilla, Manuel, ca. 1880-1910.
Title Funny bones : Posada and his Day of the Dead calaveras / Duncan Tonatiuh.
Published New York : Abrams Books for Young Readers, 2015.
Main (Gardner) Stacks
NE546.P6 T65 2015
Editor's comments: " Funny Bones tells the story of how the amusing calaveras--skeletons performing various everyday or festive activities--came to be. They are the creation of Mexican artist José Guadalupe (Lupe) Posada (1852-1913). In a country that was not known for freedom of speech, he first drew political cartoons, much to the amusement of the local population but not the politicians. He continued to draw cartoons throughout much of his life, but he is best known today for his calavera drawings. They have become synonymous with Mexico's Día de los Muertos (Day of the Dead) festival. Juxtaposing his own art with that of Lupe's, author Duncan Tonatiuh brings to light the remarkable life and work of a man whose art is beloved by many but whose name has remained in obscurity. The book includes an author's note, bibliography, glossary, and index."
Posted pursuant to section 108 of title 17 of the United States Code, §201.14: Warnings of copyright for use by certain libraries and archives.
Antonio Vanegas Arroyo (1850?-1917) ran a printing house that issued a series of small theatrical works which were put in his Galería de Teatro Infantil. Some of his publications were illustrated by José Guadalupe Posada. (Source: https://oac.cdlib.org/findaid/ark:/13030/kt4t1nb894/)
The editor is standing in the center between two individuals. Seating in the front row from the left to right are Concepción Vanegas Rubí, Carmen Rubí, and Julia Vanegas Rubí.
Posted pursuant to section 108 of title 17 of the United States Code, §201.14: Warnings of copyright for use by certain libraries and archives.
Attribution:
Antonio Vanegas Arroyo, andanzas de un editor popular (1880-1901) By Jaddiel Díaz Frene, Ángel Cedeño Vanegas