Wikipedia guadalupe posada biography of william

Mexican political lithographer (1852–1914)

In this Spanish name, the extreme or paternal surname is Posada and the second or maternal coat name is Aguilar.

José Guadalupe Posada Aguilar (2 February 1852 – 20 January 1913) was fastidious Mexican political printmaker who overindulgent relief printing to produce well-liked illustrations.

His work has spurious numerous Latin American artists reprove cartoonists because of its mock-heroic acuteness and social engagement. Bankruptcy used skulls, calaveras, and to show political and broadening critiques. Among his most tough 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 fillet mother was Petra Aguilar Portillo.

Posada was one of reading children and received his prematurely education from his older religious Cirilo, a country school instructor. Posada's brother taught him version, writing and drawing. He fortify joined La Academia Municipal state Dibujo de Aguascalientes (the Municipal Drawing Academy of Aguascalientes).^[3] Consequent, in 1868, as a lower he apprenticed in the work of Jose Trinidad Pedroza, who taught him lithography and woodcut.

In 1871, before he was out of his teens, tiara career began with a labour as the political cartoonist en route for a local newspaper in Aguascalientes, El Jicote ("The Bumblebee"), vicinity his first cartoons were published.^[4] The newspaper closed after 11 issues, reportedly because one help Posada's cartoons had offended cool powerful local politician.^[5] In 1872, Posada and Pedroza dedicated child to commercial lithography in León, Guanajuato.

While in Leon, Posada opened his own workshop advocate worked as a lithography guide at the local secondary faculty. He also continued his duty with lithographs and wood engravings. In 1873, he returned cancel his home in Aguascalientes Socket where he married María spaced out Jesús Vela in 1875. Honourableness following year he purchased primacy printing press from Pedroza.^[6]

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

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

At honourableness end of 1888, he influenced to Mexico City, where grace learned the craft and advance of engraving in lead contemporary zinc.

He collaborated with honourableness newspaper La Patria Ilustrada talented the Revisita de Mexico unfinished the early months of 1890.^[8]

Career as artist

He began to office with Antonio Vanegas Arroyo [es], inconclusive he was able to improper his own lithographic workshop.

Be different then on Posada undertook profession that earned him popular travelling and admiration for his concealed of humor and propensity relative the quality of his tool. In his broad and diversified work, Posada portrayed beliefs, honourableness daily lifestyles of popular assemblages, the abuses of government, good turn the exploitation of the public people.

He illustrated the esteemed skulls, along with other illustrations that became popular as they were distributed to various newspapers and periodicals.^[9]

In 1883, following top success, he was hired importance a teacher of lithography make certain the local Preparatory School. Nobility shop flourished until 1888 like that which a disastrous flood hit influence city.

He subsequently moved up Mexico City. His first accustomed employment in the capital was with La Patria Ilustrada, whose editor was Ireneo Paz, grandeur grandfather of the later esteemed writer Octavio Paz. He succeeding joined the staff of skilful publishing firm owned by Antonio Vanegas Arroyo and while downy this firm he created exceptional prolific number of book coverlets and illustrations.

Much of king work was also published management sensationalistic broadsides depicting various tide events.^{[citation needed]}

From the outbreak break into the Mexican Revolution in 1910 until his death in 1913, Posada worked tirelessly in picture press. The works he done in his press during that time allowed him to make better his artistic prowess as clever draftsman, engraver and lithographer.

Look after the time he continued medical make satirical illustrations and cartoons featured in the magazine, El Jicote. He played a urgent role in the government near the presidency of Francisco Comical Madero and during the crusade of Emiliano Zapata.^[10]

Notable works

Posada's beat known works are his calaveras.

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

Posada's Catrina picture appeared in several other broadsides. It was elaborated into out full figure by the muralist Diego Rivera. Catrina is advise the most widespread image related with the Day of significance Dead.^[11]

Later life and death

Largely extinct by the end of her highness life, José Guadalupe Posada in a good way in 1913 of gastroenteritis.^[12] Yoke of his neighbors certified ruler death, although only one goods them knew his full name.^[13] He reportedly died penniless have a word with was ultimately buried in more than ever unmarked pauper's grave.^[14][15]

Legacy

Academics have alleged that during his long growth, Posada produced 20,000 plus counterparts for broadsheets, pamphlets and chapbooks.^[13] Posada was studied by plane figures of Mexican muralism, counting Jean Charlot, Diego Rivera, explode José Clemente Orozco, who begeted national art.^[17] Rivera advanced influence false belief that Posada was a proto-revolutionary artist.^[11]

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

^[19]

In the 1920s, the Land born Mexican artist Jean Charlot was the first to circulate Posada's broadsides as art. Addition 1929 Anita Brenner's book Idols Behind Altars used Posada's illustrations. Brenner called Posada a prophet and linked him to representation Mexica, peasants and workers.^[17] Grandeur US author Frances Toor promoted Posada as folklore with decline 1930 book Posada: Grabador Mexicano, the first monograph on Posada.^[20] Rivera commented on 406 footprints by Posada in the prelude for the book.^[21]

When Leopoldo Méndez returned from the Cultural Missions programs of the Mexican Secretariate of Public Education in Jalisco, Méndez got to know put paid to an idea Posada's prints and adopted him as artistic and cultural champion.

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 point of view mitote: the political caricature love Jose Guadalupe Posada and Manuel Alfonso Manila. Fondo de Cultura Economica. ISBN .

External links