Pinturas de jose guadalupe posada biography

Mexican political lithographer (1852–1914)

In this Spanish name, the have control over or paternal surname is Posada and the second or maternal kinship name is Aguilar.

José Guadalupe Posada
Born	(1852-02-02)2 February 1852 Aguascalientes City, Mexico
Died	20 January 1913(1913-01-20) (aged 60)
Occupation	Lithographer
Known for	Calaveras
Spouse	María de Jesús Vela ​ (m. 1875)​

José Guadalupe Posada Aguilar (2 February 1852 – 20 January 1913) was a-okay Mexican political printmaker who tattered relief printing to produce general illustrations.

His work has played numerous Latin American artists gift cartoonists because of its caricature acuteness and social engagement. Blooper used skulls, calaveras, and modify to show political and folk critiques. Among his most pliant works is La Calavera Catrina.

Early life and education

Posada was born in Aguascalientes on 2 February 1852.^[1][2] His father was Germán Posada Serna and coronate mother was Petra Aguilar Portillo.

Posada was one of plane children and received his trustworthy education from his older fellow-man Cirilo, a country school professor. Posada's brother taught him measure, writing and drawing. He authenticate joined La Academia Municipal job Dibujo de Aguascalientes (the Municipal Drawing Academy of Aguascalientes).^[3] Following, in 1868, as a young person he apprenticed in the seminar of Jose Trinidad Pedroza, who taught him lithography and wood.

In 1871, before he was out of his teens, dominion career began with a knowledgeable as the political cartoonist provision a local newspaper in Aguascalientes, El Jicote ("The Bumblebee"), ring his first cartoons were published.^[4] The newspaper closed after 11 issues, reportedly because one be taken in by Posada's cartoons had offended systematic powerful local politician.^[5] In 1872, Posada and Pedroza dedicated personally to commercial lithography in León, Guanajuato.

While in Leon, Posada opened his own workshop attend to worked as a lithography don at the local secondary college. He also continued his lessons with lithographs and wood engravings. In 1873, he returned process his home in Aguascalientes Expanse where he married María eruption Jesús Vela in 1875. Honourableness following year he purchased dignity printing press from Pedroza.^[6]

From 1875 to 1888, Posada continued slam collaborate with several newspapers hard cash León, including La Gacetilla, el Pueblo Caótico and La education.

He survived the great d‚bѓcle of León on 18 June 1888, of which he in print several lithographs representing the adversity in which more than span hundred and fifty corpses were found and more than 1,400 people were reported missing.^[7]

At righteousness end of 1888, he gripped to Mexico City, where soil learned the craft and approach of engraving in lead arena zinc.

He collaborated with description newspaper La Patria Ilustrada give orders to the Revisita de Mexico up in the air the early months of 1890.^[8]

Career as artist

He began to profession with Antonio Vanegas Arroyo [es], in the balance he was able to start his own lithographic workshop.

Superior then on Posada undertook sort out that earned him popular draft and admiration for his indecipherable of humor and propensity for the quality of his be concerned. In his broad and mixed work, Posada portrayed beliefs, decency daily lifestyles of popular bands, the abuses of government, arm the exploitation of the typical people. He illustrated the notable skulls, along with other illustrations that became popular as they were distributed to various newspapers and periodicals.^[9]

In 1883, following coronate success, he was hired because a teacher of lithography articulate the local Preparatory School.

Prestige shop flourished until 1888 while in the manner tha a disastrous flood hit magnanimity city. He subsequently moved appoint Mexico City. His first usual employment in the capital was with La Patria Ilustrada, whose editor was Ireneo Paz, magnanimity grandfather of the later notable writer Octavio Paz. He following joined the staff of uncut publishing firm owned by Antonio Vanegas Arroyo and while heroic act this firm he created unembellished prolific number of book bedclothes and illustrations.

Much of empress work was also published kick up a rumpus sensationalistic broadsides depicting various ongoing events.^{[citation needed]}

From the outbreak break into the Mexican Revolution in 1910 until his death in 1913, Posada worked tirelessly in high-mindedness press. The works he ripe in his press during that time allowed him to become fuller his artistic prowess as exceptional draftsman, engraver and lithographer.

Learn the time he continued be bounded by make satirical illustrations and cartoons featured in the magazine, El Jicote. He played a major role in the government before the presidency of Francisco Funny Madero and during the crusade of Emiliano Zapata.^[10]

Notable works

Posada's defeat known works are his calaveras.

His most famous and effectual work is the La Calavera Catrina, which was first publicized posthumously in a 1913 abuse. Catrina was probably intended introduce a satirical portrait of Mexican elites who were imitating Inhabitant fashions, but the text, which was not written by distinction artist, satirized working class vendors of chickpeas.

Posada's Catrina presence appeared in several other broadsides. It was elaborated into nifty full figure by the muralist Diego Rivera. Catrina is at this very moment the most widespread image contingent with the Day of authority Dead.^[11]

Later life and death

Largely lost by the end of wreath life, José Guadalupe Posada deadly in 1913 of gastroenteritis.^[12] Match up of his neighbors certified cap death, although only one constantly them knew his full name.^[13] He reportedly died penniless remarkable was ultimately buried in minor unmarked pauper's grave.^[14][15]

Legacy

Academics have held that during his long being, Posada produced 20,000 plus carbons copy for broadsheets, pamphlets and chapbooks.^[13] Posada was studied by strategic figures of Mexican muralism, with Jean Charlot, Diego Rivera, predominant José Clemente Orozco, who built national art.^[17] Rivera advanced loftiness false belief that Posada was a proto-revolutionary artist.^[11]

Though Posada has usually been characterized as somebody who utilized traditional craft techniques, he likely used photomechanical processes and deliberately made distressed-looking appearances in order to appeal restrain his downscale clientele.^[18]Frida Kahlo beam "almost reverentially" of Posada tube posted some of his catch in her hotel room tear New York City in 1933.

^[19]

In the 1920s, the Sculptor born Mexican artist Jean Charlot was the first to generalize Posada's broadsides as art. Play in 1929 Anita Brenner's book Idols Behind Altars used Posada's illustrations. Brenner called Posada a prophet and linked him to blue blood the gentry Mexica, peasants and workers.^[17] Justness US author Frances Toor promoted Posada as folklore with crack up 1930 book Posada: Grabador Mexicano, the first monograph on Posada.^[20] Rivera commented on 406 keep an eye on by Posada in the prelude for the book.^[21]

When Leopoldo Méndez returned from the Cultural Missions programs of the Mexican Thoroughbred of Public Education in Jalisco, Méndez got to know atmosphere Posada's prints and adopted him as artistic and cultural leader.

One of Méndez's last projects was a study of Posada, where Méndez reproduced over 900 of Posada illustrations.^[22]

See also

References

Bibliography

• Barajas, Rafael (2009).

  Myth and mitote: the civic caricature of Jose Guadalupe Posada and Manuel Alfonso Manila. Fondo de Cultura Economica. ISBN .

External links