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El fascismo en Latino-América (Fascism in Latin America)

El fascismo en Latino-América (Fascism in Latin America)

José Chávez MoradoWW-1939-120213
1939·Lithograph in black and red on tan wove paper·46.9 × 67.7 cm (18 1/2 × 26 11/16 in.)

<p>The Taller de Gráfica Popular participated in the media war against profascist forces in Mexico, and some of its earliest prints were commissioned by antifascist organizations such as the Liga Pro-Cultura Alemana (League for German Culture), a Mexico City–based group of European political exiles. In 1939 the Taller illustrated posters for the Liga advertising lectures on fascism. Some examples reveal the workshop’s sophisticated solutions to representing this domestic and international threat. A photomontage of the Nazis’ notorious aerial campaigns—a new war strategy used against civilians during the Spanish Civil War—recalls the political satires of the German Dada artist John Heartfield, while the Japanese image mocks Emperor Hirohito as a bloated insect. In contrast, the poster for the lecture by Mexican labor leader Vicente Lombardo Toledano visualizes the inclusive nature of the Popular Front antifascist alliance by showing a professional linking arms with the traditional revolutionary trinity of a soldier, an urban worker, and a peasant.</p> <p><strong>Español:</strong>El Taller de Gráfica Popular participó en la guerra mediática en contra de los grupos profascistas de México, y algunos de sus primeros grabados fueron comisionados por organizaciones antifascistas tales como la Liga Pro-Cultura Alemana, una agrupación de exiliados políticos europeos en el D. F. En 1939, el Taller ilustró carteles para la Liga en los que se publicitaban conferencias sobre el fascismo. Algunos ejemplos muestran las sofisticadas estrategias gráficas diseñadas para representar la amenaza fascista a nivel nacional e internacional. El fotomontaje de las tristemente célebres campañas aéreas nazis —formas de guerra desplegadas en contra de la población civil durante la Guerra Civil Española— recuerda las sátiras políticas del artista dadaísta alemán John Heartfield, mientras la imagen japonesa hace burla del emperador Hirohito en la figura de un insecto hinchado. En contraste, el cartel para la conferencia del líder obrero mexicano Vicente Lombardo Toledano proyecta el espíritu inclusivo de la alianza antifascista del Frente Popular mostrando a un profesional marchando hombro con hombro con la tradicional trinidad revolucionaria de un soldado, un obrero y un campesino.</p>

Catalogue

Year
1939
Dimensions
46.9 × 67.7 cm (18 1/2 × 26 11/16 in.)

Artist

J
José Chávez Morado

Painting

José Chávez Morado was a Mexican artist who was associated with the Mexican muralism movement of the 20th century. His generation followed that of Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. Although Chávez Morado took classes in California and Mexico, he is considered to be mostly self-taught. He experimented with various materials, and was an early user of Italian mosaic in monumental works. His major works include murals at the Ciudad Universitaria, Secretaría de Comunicaciones y Transportes and Museo Nacional de Antropología in Mexico City as well as frescos at the Alhóndiga de Granaditas in the city of Guanajuato that took twelve years to paint. From the 1940s on, he also worked as a cultural promoter, establishing a number of cultural institutions especially in his home state of Guanajuato including the Museo de Arte Olga Costa – José Chávez Morado, named after him and his wife, the artist Olga Costa.

Silao, Mexico

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Record

Verified by Watts Index
Year
1939
Dimensions
46.9 × 67.7 cm (18 1/2 × 26 11/16 in.)
Watts ID
WW-1939-120213

Source

Source
aic
Status
verified

Artist

J

José Chávez Morado

Painting

View artist profile →