lunes, 29 de agosto de 2016
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.
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.
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.
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
domingo, 21 de agosto de 2016
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.
Colección Cantú Y de Teresa
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BoArt©
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The CYDT Collection (Cantú Y de Teresa Family Trust)
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