domingo, 28 de agosto de 2016


Como un reconocimiento a la obra literaria de Mariano Azuela, Los de abajo, el Salón de la Plástica Mexicana presenta una exposición con piezas alusivas a la novela y reproducciones de ilustraciones y grabados de la Revolución Mexicana vinculadas con el texto y elaborados por el Taller de la Gráfica 



Popular.
Los de abajo, publicada en 1916, se considera como la iniciadora del ciclo de novela de la Revolución Mexicana que comenzó en 1910.
En la muestra, también se exhiben libros editados en diferentes periodos como Colección Imagen /2 Edición Biblos, Madrid, con ilustraciones de Gabriel García Maroto, Cuadernos de Escenas de la Revolución Mexicana, Biblioteca de Veracruz (1927) y The under dogs by Mariano Azuela, con ilustraciones de José Clemente Orozco (1929, Brentano’s New York); así como un fragmento de un mural de Diego Rivera del Teatro de los Insurgentes.
En la exposición participan obras de Aurora Reyes, Sarah Jimé- nez, Arturo García Bustos, Adolfo Mexiac, Fanny Rabel, Federico Cantú y otros artistas del Salón de la Plástica Mexicana.
Imágenes en la obra Los de Abajo a 100 años de la edición de la novela
 Los de abajo, publicada por primera vez en 1916, se considera iniciadora de la novela de la Revolución Mexicana. Como un reconocimiento a esta obra literaria de Mariano Azuela, el SPM presenta una exposición de los artistas miembros con piezas alusivas a la novela, así como reproducciones de las ilustraciones y grabados de la Revolución vinculadas al texto y elaborados por el Taller de Gráfica Popular.
Asimismo, se incluirá un fragmento del mural del Teatro de los Insurgentes, en el que Diego Rivera incorporó partes de la obra de Azuela como testimonio, y piezas de Aurora Reyes, Sarah Jiménez, Arturo García Bustos, Adolfo Mexiac, Fanny Rabel, Federico Cantú y otros artistas del SPM, creadas ex profeso para esta muestra.
El valor de esta novela del gran escritor Mariano Azuela radica en su veracidad histórica, el estilo, el lenguaje realista –a manera de amplias y eficientes pinceladas–, la observación que despliega, la sugerencia de sus imágenes y descripciones, el dibujo de las costumbres y, sobre todo, la verdad psicológica de sus personajes y la evolución del proceso revolucionario que describe, que va desde la pujanza y el entusiasmo iniciales, hasta la duda, la desconfianza, la decepción y el pesimismo finales, cuando son traicionados los ideales de la lucha armada. 
De este modo, la obra refleja los cambios sociopolíticos ocurridos en el México de aquella época, por lo que su mayor mérito es haber ahondado en la psicología del pueblo mexicano para dar un testimonio profundo y completo.

La exposición estará abierta hasta el 25 de septiembre, de lunes a sábado de las 10:00 a las 18:00 y los domingos de las 10:00 a las 14:00 horas, en el recinto ubicado en Colima 196, colonia Roma, Ciudad de México. Entrada libre.

viernes, 26 de agosto de 2016




Durante mas de tres décadas Federico Cantú abordo la imagen del IMSS
En un sin fin de imágenes y formas, piedra, bronce, fresco, pintura de caballete y grabado fueron los medios para lograr la grandiosidad de la Madona
Esta Madona es sin duda la versión que da transición a la representación de los años 40 a los 50

Adolfo Cantú
Colección de Arte Cantú Y de Teresa



lunes, 15 de agosto de 2016

Kitagawa Utamaro


prints:
   with a 'real' stone seal. The desired seal image is carved (in reverse) on a blank seal (made of stone, ivory, bone or plastic), and is then stamped on the paper, using a vermillion pigment.
   printed in the normal fashion from a woodblock. The image is carved on a woodblock, in exactly the same way as the rest of the print. It is then printed as just another 'colour' of the print, either in a press, or with a baren.
Making 'real' seals is an art in itself, and I don't have much experience with it. I use one here in Japan for my personal affairs (banking, etc.). I carved it myself from a small stone 'blank', of a type available at any stationery store.

Contemporary print artists here in Japan frequently use this method for sealing their prints, but in the 'old days' the 'carved on the block' method was used almost exclusively. The seals you see on prints designed by such people as Hiroshige are all carved on the blocks.
This rest of this page will deal with that method.



n this Japanese name, the family name is Kitagawa.

Ukiyo-e, 1798

Kitagawa Utamaro (Japanese: 喜多川 歌麿; c. 1753 – 31 October 1806) was a Japanese artist. He is one of the most highly regarded practitioners of the ukiyo-e genre of woodblock prints, especially for his portraits of beautiful women, or bijin-ga. He also produced nature studies, particularly illustrated books of insects.
Utamaro's work reached Europe in the mid-nineteenth century, where it was very popular, enjoying particular acclaim in France. He influenced the European Impressionists, particularly with his use of partial views and his emphasis on light and shade, which they imitated. The reference to the "Japanese influence" among these artists often refers to the work of Utamaro.

martes, 9 de agosto de 2016

The ukiyo-e

Japanese art; and the serene, atmospheric Hiroshige, most noted for the series The Fifty-three Stations of the Tōkaidō.



The ukiyo-e genre of art flourished in Japan from the 17th through 19th centuries. Its artists produced woodblock prints and paintings of such subjects as female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna; and erotica. The term ukiyo-e (浮世絵 IPA: [u.ki.jo.e]) translates as "pictures of the floating world".
Edo (modern Tokyo) became the seat of government for the military dictatorship in the early 17th century. The merchant class at the bottom of the social order found themselves the greatest beneficiaries of the city's rapid economic growth. Many indulged in the entertainments of kabuki theatre, courtesans, and geisha of the pleasure districts. The term ukiyo ("floating world") came to describe this hedonistic lifestyle. Printed or painted ukiyo-e images of this environment emerged in the late 17th century and were popular with the merchant class, who had become wealthy enough to afford to decorate their homes with them.
The earliest success was in the 1670s with Moronobu's paintings and monochromatic prints of beautiful women. Colour prints came gradually—at first added by hand for special commissions. By the 1740s, artists such as Masanobu used multiple woodblocks to print areas of colour. From the 1760s the success of Harunobu's "brocade prints" led to full-colour production becoming standard, each print made with numerous blocks. The peak period in terms of quantity and quality was marked by portraits of beauties and actors by masters such as Kiyonaga, Utamaro, and Sharaku in the late 18th century. This peak was followed in the 19th century by a pair of masters best remembered for their landscapes: the bold formalist Hokusai, whose Great Wave off Kanagawa is one of the best-known works of Japanese art; and the serene, atmospheric Hiroshige, most noted for the series The Fifty-three Stations of the Tōkaidō. Following the deaths of these two masters, and against the technological and social modernization that followed the Meiji Restoration of 1868, ukiyo-e production went into steep decline.
Some ukiyo-e artists specialized in making paintings, but most works were prints. Artists rarely carved their own woodblocks for printing; rather, production was divided between the artist, who designed the prints; the carver, who cut the woodblocks; the printer, who inked and pressed the woodblocks onto hand-made paper; and the publisher, who financed, promoted, and distributed the works. As printing was done by hand, printers were able to achieve effects impractical with machines, such as the blending or gradation of colours on the printing block.

Ukiyo-e was central to forming the West's perception of Japanese art in the late 19th century–especially the landscapes of Hokusai and Hiroshige. From the 1870s Japonism became a prominent trend and had a strong influence on the early Impressionists such as Degas, Manet, and Monet, as well as Post-Impressionists such as van Gogh and Art Nouveau artists such as Toulouse-Lautrec. The 20th century saw a revival in Japanese printmaking: the shin-hanga ("new prints") genre capitalized on Western interest in prints of traditional Japanese scenes, and the sōsaku-hanga ("creative prints") movement promoted individualist works designed, carved, and printed by a single artist. Prints since the late 20th century have continued in an individualist vein, often made with techniques imported from the West such as screen printing, etching, mezzotint, and mixed media.







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