SKU: 16575509280

Juan Sebastian Barbera - Confusionista

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Description

Juan Sebastian Barbera - ConfusionistaA gorgeous etching, done in 1994, measuring 29" x 22" (74cm. x 56cm.). From an edition of only 75, in immaculate condition. Description This lovely lithograph was printed by Poligrafa, in Barcelona in 1994. Printed on thick paper, from an edition of only 75 and in good condition, and unframed. MLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In

A gorgeous etching, done in 1994, measuring 29" x 22" (74cm. x 56cm.). From an edition of only 75, in immaculate condition. 

 

Description

This lovely lithograph was printed by Poligrafa, in Barcelona in 1994. Printed on thick paper, from an edition of only 75 and in good condition, and unframed. MLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.

 

MLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.

 

 

Mexico has the oldest printmaking tradition in Latin America. The first presses were established there in the 16th mainly to print devotional images for religious institutions. Because of their ephemeral nature, few of these early impressions survive. A rare early exception is a 1756 thesis proclamation printed on silk presented by a candidate for a degree in medicine. With the introduction of lithography to Mexico in the nineteenth century, printmaking and publishing greatly expanded, and artists became recognized for the character of their work. José Guadalupe Posada (1851–1913) is often regarded as the father of Mexican printmaking. His best-known prints are of skeletons (calaveras) published on brightly colored paper as broadsides that address topical issues and current events, love and romance, stories, popular songs, and other themes. Posada demonstrated how effective prints were for creating a visual language that everyone could understand and enjoy. In the early twentieth century, their example had a profound impact on artists who, in response to the turbulent political climate and social unrest, were similarly eager to reach broad audiences.

 

The best-known artists in Mexico from the early decades of the twentieth century are Diego Rivera, José Clemente Orozco (1883–1949), and David Alfaro Siqueiros (1896–1974)—“Los tres grandes” (The Three Greats). They were all committed to politics but expressed their views through their art in very different ways. Of the three, Rivera—who returned to Mexico from Europe at the invitation of the government in 1921 to work on a mural project—rose to greatest prominence. Rivera’s 1932 lithograph Emiliano Zapata and His Horse, based on a detail from one of his murals at the Palace of Cortés Cuernavaca to the south of Mexico City, has become an iconic twentieth-century print. Zapata was a landowner-turned-revolutionary who formed and led the Liberation Army of the South. He embodied the aims of agrarian struggle that aspired to improve conditions for those who worked on the land. Zapata was assassinated in April 1919. Rivera’s print conflates different moments of oppression with optimistic emancipation. It was commissioned and published by the Weyhe Gallery in New York for sale to American collectors. Orozco and Siqueiros also made prints for the U.S. market, a number of which are devoid of political content.

 

The establishment of the print collective known as the Taller de Gráfica Popular (Workshop of Popular Graphic Art, TGP) in Mexico City in 1937 best expresses the symbiosis between prints and politics that had developed in Mexico. Its founders, Leopoldo Méndez (1902–1969), Luis Arenal (1908/9–1985) and Pablo (Paul) O’Higgins (1904–1983), were committed communists who abandoned mural painting to concentrate on printmaking, demonstrating how important prints had become as a vehicle for artistic, social, and political expression. Some of its members had belonged to the League of Writers and Revolutionary Artists (LEAR), which had been launched in 1934. The TGP has a fascinating history steeped in astonishing artistic production and political intrigue. The Bolshevik revolutionary and Marxist theorist Leon Trotsky arrived in Mexico in 1937, much to the horror of the communists represented by Siqueiros, who regarded him as a pro-fascist provocateur. Rivera was a supporter of Trotsky and established a Mexican branch of the Fourth International, a socialist organization that had its own journal, Clave, and ran articles attacking the USSR and the Mexican Communist Party. Siqueiros, then a guest member of the TGP, with fellow printmakers Antonio Pujol (1913–1995) and Luis Arenal, led an attempt to assassinate Trotsky in May 1940. The TGP workshop was their rendezvous point. After the failed attempt, Pujol ended up in prison and Siqueiros fled the country. Their action caused terrible ruptures in the TGP, with some remaining committed to the communist cause and others pressing for a more moderate line.

 

By 1947, the year that the Society of Mexican Printmakers was founded, printmaking had broadened its horizons far beyond its proletarian roots. In fact, printmaking was now considered to be the most intimate of media. Post World War II artist felt a need to reassert private values in opposition to highly politicized work. They opened the way to more subjective investigations of personal identity and myth.

 

Jose Luis Cuevas, Rufino Tamayo, and Francisco Toledo are fine examples of the new sensibility. These later artists have kept alive Mexico’s reputation for excellence in the graphic arts. A common Mexican trait on either side of the U.S.–Mexico border is the passionate interest in Mexicanidad (Mexicanness) and what comprises Mexican identity. Perhaps this obsession to understand the concept of Mexicanidad comes from nearly five centuries of mestizaje – the interracial and cultural mixing that first occurred in Mesoamerica among Native Indigenous groups, European Spanish and enslaved Africans during the 1520s. By the 18th century, Mexican identity had developed. Mestizaje was the process that constructed it. The museum’s permanent collection showcases the dynamic and distinct Mexican stories in North America, and sheds light on why Mexican identity cannot be regarded as singular; its vast diversity defies any notion of one linear history. -

 

Nuestras Historias destaca la colección permanente del museo, la cual expone las historias dinámicas y diversas de la identidad mexicana en Norteamérica. La exhibición muestra la identidad cultural como algo que evoluciona continuamente a través del tiempo, de regiones y de comunidades,  en vez de señalarla como una entidad estática e inmutable, exhibiendo para esto, artefactos mesoamericanos y coloniales, arte moderno mexicano, arte popular, y arte contemporáneo de los dos lados de la frontera EE.UU-México.  La gran diversidad de identidades mexicanas mostradas en estas obras desafía la noción de una sola historia lineal e identidad única. 

 

 

 

 

 

 

 
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Charles
Fort Morgan, US
★★★★★ 5
Good purchase
Format: Hardcover
Good purchase
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Reviewed in the United States on June 18, 2024
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daniel goldman
Boise, US
★★★★★ 4
Decent if not a little shallow overview but full of typos
Format: Hardcover
Purchased thos book to consider passing to an employee eyeing a promotion. The information is ok to get the broad level concepts across for someone who has no thought about these concepts at all. However. Man. This book is riddled with more typos than my 2am half drunk reddit posts. Words that are missing spaces between them, phrases that change tense or intent of where the sentence was going to go ... It's pretty drole reading in general and the distractions do not help!
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Reviewed in the United States on January 28, 2024
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Paul
Draper, US
★★★★★ 5
Great book
Format: Paperback
Very great book. Came quicker than expected. Very great condition!!
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Reviewed in the United States on February 20, 2023
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Linda OBrien
Carnegie, US
★★★★★ 5
One of the best Project Management Books I've Read!
Format: Kindle
This was a really great read for many reasons. The focus on ensuring your project has a strategic purpose is so important these days, where Program and Project Managers need to make sure the projects they are leading are providing value to the organization. The framework is one that can be applied immediately with the explanation and tools provided in the book and on the author's website. The real-life stories and projects were not only fun to read, but very helpful in understanding how to apply the framework. The examples were very thorough and helpful. There is great information on what is needed from a PM to be successful including managing the team and stakeholders. On top of all that, when I got to Chapter 10 it was like a bonus chapter for me. Chapter 10's focus is on "managing your inner game", and has great information on ensuring you have the right mindset to be successful. Project Managers have the opportunity (and challenge) to work with many different personalities and in many challenging environments. This chapter provides really great information on how to navigate those waters and be successful. Chapter 10 could seriously be a book in itself. Chapter 12 was yet another bonus chapter, especially for lifelong learners. It's all about the idea of taking everything we've learned and applying it to our life. As the author states, our lives are essentially a project. Why not apply the same principles to ensure we are achieving our purpose and providing value, with yet again, really great examples to get us started. Anyone who leads or is involved in any kind of projects or who wants to work better in a team environment would benefit from reading this book.
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Reviewed in the United States on May 5, 2021
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Joseph Jordan
Omaha, US
★★★★★ 5
Strategic Management Made Simple and Effective
Format: Hardcover
I told Terry Schmidt that would be a better title for his book, “Strategic Management Made Simple and Effective”. The time-tested Logical Framework Approach (LFA) that Terry champions goes far beyond project management. With its exploratory LogFrame matrix leading from inputs to outcomes, outcomes to purpose, and purpose to goal, the LFA forces you to understand the reason for the project. Projects are not executed for their own reason but to achieve something specific. The LogFrame traverses the ladder from inputs to goal through objectives with success measures, ways to verify success, and assumptions that must hold true be successful. Terry adds his own concept -- that he calls the Implementation Equation™ -- to help you build the LogFrame: IF inputs AND valid assumptions, THEN outcomes / IF outcomes AND valid assumptions, THEN purpose / IF purpose AND valid assumptions, THEN goal. This methodology offers you a way to view the LogFrame with multiple perspectives: scientific method, strategic planning, project management, risk management, management by objectives, and, although he does not mention it, also quality management. In particular, his use of assumptions has helped me to redefine my view of risk management. Rather than brainstorm a large list of possible risks in a registry that becomes impossible to manage, I use the probability that the assumptions needed for success are not valid – and their impact on achieving success, as the true risks that must be actively managed. A highly entertaining as well as informative book, “Strategic Project Management Made Simple”, or whatever you choose to call it, should be the first guide you reach for when building a portfolio, creating programs or products, or starting a project.
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Reviewed in the United States on November 5, 2021

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