One of the themes that the modern Mexican artists like Artemio Rodriguez continue to explore is that of the religious art. Virgen de Guadalupe impression is made using the linoleum cut by Artemio Rodriguez in 1998. The original artwork is 22 x 15 cm.
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.
"Innocent Creatures," series by Artemio Rodriguez continues to demonstrate the plasticity of artistic expression of this talented contemporary artist. Posada's imagery undoubtedly continues to play an important role in this inspiration.
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.
Artemio Rodríguez's "Campesino" or "Farmer," is a linocut on Arches paper completed in 2001. The work is 18 1/4 inches by 14 inches; the edited image shown is 11 inches by 11 inches.
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.
Artemio Rodriguez is a versatile artist, known for his linocuts, here is a painting that is done in ink.
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.
Innocent Creatures series depicts animals of different types.
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 (Mexican, 1851–1913)? or perhaps an unkown artist.
On May 25, 1911, Mexico's President Diaz forced to resign as rebels win Mexican Revolution. This broadsheet depicts a farewell poem as well as the image of General Porfirio Díaz.
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.?
José Guadalupe Posada (Mexican, 1851–1913).
Posada, who through his graphic work represented with a festive, joyful and caustic vision the popular collective imagination of Mexicans, often focused on the depiction of Calaveras or skulls.
This broadsheet depicts a skull of a movie-maker.
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
José Guadalupe Posada (Mexican, 1851–1913)
This is a broadsheet that depicts the La Calavera Catrina or Catrina La Calavera Garbancera. It is made from a 1910–1913 zinc etching by the Mexican printmaker, cartoon illustrator and lithographer José Guadalupe Posada.
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
The series, "Innocent Creatures" by Artemio Rodriguez also incorporates mythical creatures.
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 (Mexican, 1851–1913)
La Poblanita songbook illustration was designed by Posada. The year of publication is not evident on both the title and cover-pages of this booklet. The songbook has 16 pages.
Source: http://ipm.literaturaspopulares.org/%C3%8Dndice:LPAnho.djvu.
Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
José Guadalupe Posada (Mexican, 1851–1913).
Stanford Curator of Latin Americana, Adan Griego writes, "Posada lived through the almost uninterrupted 30 years of the Porfirio Diaz dictatorship or porfiriato and his calavera images became the venue to satirize the excesses of Mexican bourgeois society. French artist Jean Charlot encountered Posada’s work while visiting Mexican muralist Diego Rivera in the 1920s and is credited with providing a wider audience for the satirical artist."
The source of this image is Stanford Library.
http://library.stanford.edu/blogs/stanford-libraries-blog/2017/10/jose-guadalupe-posada-dia-de-muertos
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist: José Guadalupe Posada (Mexican, 1851–1913). This broadsheet depicts the image of the Virgin of Guadalupe that surrounded by the leaves of the maguey agave. The bottom half of this broadsheet shows a sort of farewell hymn that pilgrims are supposed to chant while visiting and then leaving the church (Tierno despedimento que hacen los visitantes...).
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910
Artist: José Guadalupe Posada (Mexican, 1851–1913).
Colección de canciones modernas para año 1892.
Vanegas Arroyo typography released each year a songbook of modern songs. This songbook for the year 1892 depicts on its cover a character named Elena. This songbook is produced using the photo-relief and letterpress method. Printed in red and black on tan paper
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist: José Guadalupe Posada (Mexican, 1851–1913).
Cover for 'Las Torres Blancas', a group of people walking and looking up at two white towers (Source: https://www.metmuseum.org/art/collection/search/738082).
Photo-relief and letterpress in red and black ink on tan paper.
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist:
José Guadalupe Posada (Mexican, 1851–1913)
A cover of a songbook for the year 1895. The cover shows an Asian woman who is holding a traditional fan (el abanico).
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist: José Guadalupe Posada (Mexican, 1851–1913).
The cover of a songbook for the year 1894 depicts a lady who is dancing. Her name is printed as "Serpentina".
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist:José Guadalupe Posada (Mexican, 1851–1913).
Adios a Mexico 35 Colección de canciones modernas para 1895.
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist: José Guadalupe Posada (Mexican, 1851–1913).
The cover for this 16-page chapbook containing recipes for Mexican desserts presents a man wearing an apron, making sweets in a kitchen.
Zinc etching. Signed.
Chapbooks, Mexican; Mexico wit and humor, Pictorial.
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Attribution:
Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist: José Guadalupe Posada (Mexican, 1851–1913).
Cover for 'Coleccion de Cartas Amorosas Cuaderno. The cover depicts a couple that is embracing.
Photo-relief and letterpress on off-white paper.
The image source: http://museoblaisten.com/Obra/2468/Coleccion-Cartas-Amorosas
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist: José Guadalupe Posada (Mexican, 1851–1913)
Photo-relief and letterpress on green paper.
Series: colección de cartas amorosas.
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Attribution:
Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
José Guadalupe Posada (Mexican, 1851–1913)
Broadside shows a male skeleton dressed in a charro outfit wielding a machete in a graveyard, apparently in the process of creating more skeletons--a crowd of skeletons surrounds him and skulls lie at his feet. The text block is decorated with four small skulls.
(Source: Library of Congress-https://www.loc.gov/pictures/resource/ppmsc.03450/)
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
In 2002-2003, Artemio Rodriguez reinterpreted an original 1939 painting by Frida Kahlo that was entitled, "Las dos Fridas."
This painting was completed shortly after her divorce with Diego Rivera. This portrait shows Frida's two different personalities. One is the traditional Frida in Tehuana costume, with a broken heart, sitting next to an independent, modern-dressed Frida.
"Innocent Creatures" was a series that was envisioned by Artemio Rodriguez in 2003. There were several linocuts that were produced to this end. Some of these depict mythological creatures.
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.
Artist: José Guadalupe Posada (Mexican, 1851–1913),
Photo-relief and letterpress printed on orange paper.
Sheet: 5 13/16 × 7 7/8 in. (14.8 × 20 cm).
Description source: https://www.metmuseum.org/art/collection/search/738091
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist: José Guadalupe Posada (Mexican, 1851–1913).
Wood engraving.
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist: José Guadalupe Posada (Mexican, 1851–1913)
Photo-relief and letterpress on beige paper
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
José Guadalupe Posada (Mexican, 1851–1913)
A chapbook printed using the letterpress on a green paper. Signed.
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Attribution:
Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist: José Guadalupe Posada (Mexican, 1851–1913).
Photo-relief and letterpress on beige paper.
Sheet: 5 13/16 × 7 7/8 in. (14.8 × 20 cm)
"Estos librillos, publicados en la imprenta de Antonio Vanegas Arroyo, fueron escritos por Constancio S. Suárez e ilustrados por José Guadalupe Posada. Contenían historias de amor imposible, platónico, complicado o correspondido. El texto era sencillo y breve para atrapar a los lectores, quienes para conocer el desenlace de una historia tenían que comprar el siguiente número; una práctica común entre los editores."
Source: https://www.gob.mx/agn/articulos/coleccion-de-cartas-amorosas-la-representacion-del-amor-a-principios-del-siglo-xx?idiom=es
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist: José Guadalupe Posada (Mexican, 1851–1913).
Photo-relief and letterpress on off-white paper.
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Attribution:
Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist: José Guadalupe Posada (Mexican, 1851–1913)
The king and his three sons is a story that was illustrated by Posada.
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Attribution:
Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist: José Guadalupe Posada (Mexican, 1851–1913).
Photo-relief and letterpress printed on beige/off-white paper
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.
Artist: José Guadalupe Posada (Mexican, 1851–1913)
Series: Galeria del teatro infantil.
A chapbook printed on natural ground wood paper: relief etching, with text in letterpress; 15.2 x 10.3 cm. (sheet).
Summary: Chapbook cover shows a scene from a play: a couple embraces at the center as two women and a man look on. All wear the costume of the Renaissance. The script involves the pure love between a beast and a woman. After declaring their love for each other, the beast is transformed into a prince and marries the woman. (Source description:
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Attribution:
Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist: José Guadalupe Posada (Mexican, 1851–1913)
Series: Galeria del teatro infantil.
A chapbook on natural ground wood paper: relief etching, with text in letterpress; 15.2 x 10.3 cm. (sheet).
Summary: Chapbook cover shows scene from a play: a man dressed in the costume of the Renaissance holds a rose. He reacts with surprise as he encounters a beast in a garden. The script concerns the travels of a Marquis who leaves his daughters at home. While on his trip he enters a desolate palace with a beautiful garden. He cuts a rose from the garden to find out that it is guarded by a beast. One of the Marquis' daughters comes to the garden to confront the beast. Part one ends here. (Source of description: http://www.loc.gov/pictures/item/99615859/)
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Attribution:
Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist: José Guadalupe Posada (Mexican, 1851–1913)
Series: Galería del Teatro Infantil
Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
A chapbook on natural ground wood paper: relief etching, with text in letterpress; 15.4 x 10.8 cm. (sheet).
Summary: Chapbook cover shows a scene from a play: a woman wearing a shawl makes amorous advances towards a bullfighter dressed in full regalia; a bullfighting stadium is in the background. The script concerns a love triangle between Luisa and two bullfighters, Luís and Roberto. (Source: http://www.loc.gov/pictures/item/99615861/)
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Attribution:
Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist: José Guadalupe Posada (Mexican, 1851–1913)
Series: Galeria del teatro infantil.
Medium: Photo-relief and letterpress in brown ink on tan paper
Dimensions: Sheet: 5 13/16 × 7 7/8 in. (14.8 × 20 cm) .
(Source: https://www.metmuseum.org/art/collection/search/737967)
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist: José Guadalupe Posada (Mexican, 1851–1913)
A chapbook published using the letterpress on a beige paper.
A young man in uniform with cap raised and holding a flag, standing in a field with two dead soldiers. Apparently referring to the marines of Chapultepec?
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Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
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.
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Artist: José Guadalupe Posada (Mexican, 1851–1913)
The chapbook is entitled, "Blanca nieve y los siete enanos = Snowhite and the seven dwarfs."
Signed by Posada.
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Attribution:
Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
Artist: José Guadalupe Posada (Mexican, 1851–1913)
A chapbook printed on a beige paper in red color.
Signed by Posada.
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Attribution:
Antonio Vanegas Arroyo (Firm) - Posada, José Guadalupe, ca. 1880-1910.
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
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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
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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
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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.
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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
