SKU: 67764728257

Mario Martin del Campo - Trabajadores

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Description

Mario Martin del Campo - TrabajadoresThis print measures 16. 5" x 13. 5" (41cm. x 34cm.), in very good condition. Signed and numbered 88 100. Done in Mexico City, in 1983. In excellent condition. Mario Martin Del Campo was born in 1945 in Guadalajara. Despite having made formal art studies in San Carlos, Del Campo never left his attachment for gold and delight for the refined materials to make handicrafts, the admiration he acquired in his native Jalisco. On the other hand, it was the

This print measures 16.5" x 13.5" (41cm. x 34cm.), in very good condition. Signed and numbered 88/100.

Done in Mexico City, in 1983. In excellent condition.

 

Mario Martin Del Campo was born in 1945 in Guadalajara. Despite having made formal art studies in San Carlos, Del Campo never left his attachment for gold and delight for the refined materials to make handicrafts, the admiration he acquired in his native Jalisco. On the other hand, it was the work of Remedios Varo a great influence for him to exercise his visual narratives of sleep and consciousness. Thus, little by little his work was classified in the world of fantastic surrealism, mainly by its constant metaphorical and symbolic games. Nevertheless, the artistic production of Mario Martin Del Campo also extended to the sculpture, the jewelry, the object art and the design of scenographies, costumes, masks and puppets. 

 

"Uno de los últimos artistas del realismo fantástico, cuyos trabajos poseen un rigor renacentista y una perfección impresionante. «Además de todo eso, él tiene una peculiaridad, la cual es el humor. Él es un ángel muy seguro y cargado de humor. Ese niño suyo lo deja salir y está dentro de sus obras». Agregó Echeverría. El dibujante, pintor, grabador, escultor, diseñador y orfebre originario de Guadalajara, estudió en la Escuela Nacional de Artes Plásticas de San Carlos, Universidad Nacional Autónoma de México y cuenta con mas de 50 exposiciones individuales aproximadamente hechas en toda su vida.

Ha expuesto sus obras desde 1977 en Europa, E.U.A., Canadá, Centro, Sudamérica y México.

Ha diseñado escenografías, vestuario, máscaras y títeres para las óperas Falstaff y Don Giovanni que han pasado en el teatro del Palacio de Bellas Artes.

Trabajos de escultura a través de instrumentos musicales, pintura y otros medios hechos de concha, madera y huevos de avestruz que forman vehículos, animales fantásticos y títeres,"

"Pocos artistas pueden aspirar en México al título de polímata como el maestro Mario Martín del Campo, por la diversidad y profundidad de los conocimientos que aplica a distintas disciplinas, desde el dibujo y la pintura hasta la escultura y la joyería, del diseño de vestuarios a la confección de marionetas, pasando por su talento para convertir objetos de uso común en raras invenciones prodigiosas.

Las páginas de Alucinaciones permiten adentrarse en el trabajo dibujístico, pictórico, gráfico, escultórico, artesanal, escenográfico y lúdico de un creador cuya trayectoria asciende, desde sus inicios artesanales, al dominio de una gran cantidad de materias, algunas de las cuales parecieran imposibles de ser dominadas por una sola persona."

Ester Echeverría

 


 

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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The RoboVac works well for me. Very easy to use, not noisy, easy to empty dust collector out, picks up dust and crumbs etc. better than expected. It works on its own from room to room and transitions just fine from hard to soft surfaces. It even manages my higher pile carpet in some rooms. It‘s not heavy, so I use it upstairs and downstairs, just carry it up or down, plug in and start it. Easy! It works best if you get all cords and anything that it could caught up in out of its way beforehand. Sometimes it gets itself ‚ worked up’ and goes over one area several times which is weird. My house ist quite big and if it works over one area over and over, it does not have enough battery life to do the entire ~16000 sqft. floor on one level with different rooms and changing surfaces (I expected this, no prob. for me). The vacuum results are not as good as using a Miele canister vacuum ( my other vacuum) but good enough so the Miele only has to be pulled out from time to time for a deep vacuuming. I would buy it again.
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Works as advertised. Quiet and efficient. The price was competitive.
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I received the wrong remote control for this product. It doesn't work with the vacuum at all. I called Eufy customer support twice. The 1st time, after I told them the issue with the remote, they would put me on a 3 minute hold, come back and ask me the same question. This happened 3 times. They then asked me for my email address so I could send them the picture of the remote. They told me to stay on hold but the call disconnected and I never received the email to send them the pictures. The 2nd time I called them I told them the same issue with the remote, they put me on a 25 minute hold and they never came back. I instead received an automated survey message to let them know how they did. They did poorly. Massive waste of time. I didn't want to return the whole vacuum just because of the remote. It's refurbished and the vacuum itself works very well! All I need is the correct remote.
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Rick Wise
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I'm giving this model 5 stars because at this price, especially "renewed," it's a great robo vac. It is NOT anywhere near the hands-off level of other machines. It can't map the rooms, bumps its way around fairly successfully, but needs frequent hands on to fix something. In my case, with 2 long-haired cats, the most frequent issue is tangled hair in the roller. The machine stops dead and sends out 4 beep distress sounds for a while, then shuts down. Also, the remote seems to work only in line of sight, so if Eufy is stuck somewhere you can't see, and you were out, to find it you'll have to hunt with your eyes. Nevertheless, if your funds are limited, top choice. Update: After 6 months of usage, I'm giving it only 3 stars. Problems: 1) if you have long-haired cats (I do) their hair clogs the roller fairly quickly. After a while, no matter how well you clean the hairs out, you have to replace the roller entirely as hair seems to get inside it and cause the machine to stop working entirely. 2) the remote works only if you can see Eufy and it can "see" you. If it gets stuck in some place out of sight, lots of luck finding it. 3) when told to go to home base and recharge, it bumps around for a long time trying to find the way home. Bottom line: Where it vacuums the rug/floor is clean, but it takes a lot of baby sitting. Definitely not first choice unless funds are really tight.
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