Ana Mendez Azcarate - The muse
SKU: 32431705258

Ana Mendez Azcarate - The muse

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Ana Mendez Azcarate - The museThis is a large lithograph by the well regarded Mexican artist, Ana Mendez Azcarate. It is about 30" x 22", was done in 1986, is signed and numbered from an edition of 50, and is in excellent condition. 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.

This is a large lithograph by the well regarded Mexican artist, Ana Mendez Azcarate. It is about 30" x 22", was done in 1986, is signed and numbered from an edition of 50, and is in excellent condition.

 

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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SKU: 32431705258

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Derek hall
Cuba, US
★★★★★ 5
Lovely Book!
Format: Hardcover
Written as a companion to Advent and Christmastide, I could not wait until then to start reading this book. Lanier Ivester's writing is compelling and thought-provoking. Jennifer Trafton's art throughout the book is rich and beautiful. The writing and art accompanied by recipes, menus, devotional suggestions, music recommendations, and craft ideas make this a book I will be pulling out year after year. "Look now, for glad and golden hours come swiftly on the wing. O rest beside the weary road and hear the angels sing."
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Reviewed in the United States on October 9, 2024
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Willzinho Fenômeno
Grantham, US
★★★★★ 5
Luminous reflections for the glad and golden hours of Christmastide
Format: Hardcover
Lanier Ivester's Glad and Golden Hours is a beautiful advent companion filled with tempting recipes, helpful holiday tips, and luminous reflections upon the "bright sadness" of the holiday season. Her lovely writing is wise and earnest and kindled my heart to imagine how I might savor the glad and golden hours of Christmastide this year.
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Reviewed in the United States on October 5, 2024
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Gretchen Louise
Charlottesville, US
★★★★★ 5
wisdom infused with beauty and grace
Format: Hardcover
Whether you’re facing this Advent with great anticipation or overwhelming grief, Glad and Golden Hours will prove a sweet companion for the season. Interspersed with Lanier Ivester’s essays are holiday recipes and craft ideas, along with illustrations by Jennifer Trafton. A collection of wisdom infused with beauty and grace that I’ll return to year after year!
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Reviewed in the United States on October 19, 2024
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Suze60
Massapequa, US
★★★★★ 5
You need this book
Format: Hardcover
I didn't want to like this book, thinking it would be another how-to-have-the perfect-Christmas book. It's not that. I liked it so much I bought it for my friends. It's an exquisitely beautiful, thoughtful, joyful week by week story of preparation for the celebration of the Nativity. The author shares her own traditions, her recipes, book lists and song lists in a week-by-week format of suggestions that are easily adaptable to your own family situation. Perhaps most important, she shares her experience of deep grief in a season when joy is expected. No matter your life situation - single, married with little or big children, empty nester - Glad and Golden Hours can be like sitting with a friend for a few minutes a day, a friend who encourages you to take time for what's really important, to take joy where you find it, to maybe rethink what Advent and the Christmas season mean for you (and your family.) I ended up loving this book I didn't even want to like.
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Reviewed in the United States on December 23, 2024
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Esther
Boise, US
★★★★★ 5
Excellent
Format: Paperback, Format: Paperback
Wonderful book that just got better as it went on, with the last three chapters being my favorites! In today's distracted, entertainment-tainted culture, it may seem impossible but is imperative for us to cultivate quiet in our lives. Most of us know this, yet we still shun such moments of hush even when a way shows itself open to us. As Sarah wrote, we hold our phones as a shield, protecting ourselves from "the chill nakedness of our discontent and shame, our fear and desire". In her insightful book, Sarah asks us, "Have you stood like a watchman on the walls of your heart through the witching hour of dusk when the horizons of productivity and familiarity give way to some vast realm just beyond your understanding, a realm that is both your terror and your deep desire?" Yet, as Sarah so rightly points out, we do not only meet ourselves in that vast, spacious place of quiet; we meet God, "that great word speaking us back into life" and "the light burning at the back of our eyes so that we look upon the world in the brightness of his companionship". Sarah's book is a treasure of her own personal stories and struggles, and the insights birthed from the living of them. One of my favorite chapters was the Wise Woman's Cottage, an excellent analogy for the gift of imagination, one of the gifts of quiet Sarah explores in her book's concluding chapters. The way she weaves the story of C. S. Lewis into her contemplations brought tears to my eyes. Yet, the chapter that drew those tears out of my eyes was the following one in which Sarah shared a true story akin (at least in my mind) to that of Lucy's in Prince Caspian, a story that calls us to courage and obedience in heeding God's voice, even when the message comes only to us. "When I listen for God's voice, I find he doesn't just speak generally; he speaks particularly, to me. Quiet restores us to the wondrous autonomy of finding that God truly does come to speak to those who love him as Father and Friend. Of course, we listen, and that kind of listening can change the course of our lives...There is only one Voice whose words will always tell us true". Such wondrous words, though, can call on our courage to obey when those on the outside of God's inner promptings lack His perspective on the matter. Sarah's personal story in this chapter burned my eyes with sympathy and - when I read the encouragement she received -joy. The last chapter of this potent book was one I would not have guessed to move me as it did. The reminder that quiet "offers the space in which we may give voice to" our anguish and wrestling "so that they do not destroy us" because, "in God's hands...our lament becomes the companion leading us to the source of our lost joy". Oh, how true. Oh, how beautiful: that quiet offers us the gift of lament, which is itself a grace as "it bears at heart the belief in the reality of joy" (a truth Sarah's sister, Joy Clarkson, explored in her insightful book Aggressively Happy, in which I was reminded that sadness speaks truth to us just as joy does; we are sad because of a loss we *should* be enjoying, something we were meant to have or experience, which will one day be redeemed). In offering our laments up to God, we can then hear his words of comfort, truth, hope and assurance just as Job did, but quiet is necessary for such a divine exchange to be experienced.
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Reviewed in the United States on November 12, 2024

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