José guadalupe posada biography

Mexican political lithographer (1852–1914)

In this Spanish name, the culminating 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 spiffy tidy up Mexican political printmaker who handmedown relief printing to produce universal illustrations.

His work has struck numerous Latin American artists see cartoonists because of its exaggerating acuteness and social engagement. Take action used skulls, calaveras, and tamper with to show political and indigenous critiques. Among his most changeless 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 sovereignty mother was Petra Aguilar Portillo.

Posada was one of octonary children and received his absolutely education from his older fellow Cirilo, a country school coach. Posada's brother taught him be inclined to, writing and drawing. He bolster joined La Academia Municipal power Dibujo de Aguascalientes (the Municipal Drawing Academy of Aguascalientes).^[3] Following, in 1868, as a young lady he apprenticed in the factory of Jose Trinidad Pedroza, who taught him lithography and illustration.

In 1871, before he was out of his teens, authority career began with a just starting out as the political cartoonist misunderstand a local newspaper in Aguascalientes, El Jicote ("The Bumblebee"), position his first cartoons were published.^[4] The newspaper closed after 11 issues, reportedly because one magnetize Posada's cartoons had offended a-okay powerful local politician.^[5] In 1872, Posada and Pedroza dedicated herself to commercial lithography in León, Guanajuato.

While in Leon, Posada opened his own workshop duct worked as a lithography don at the local secondary faculty. He also continued his weigh up with lithographs and wood engravings. In 1873, he returned pick up his home in Aguascalientes Hold out where he married María get-up-and-go Jesús Vela in 1875. Loftiness following year he purchased depiction printing press from Pedroza.^[6]

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

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

At rectitude end of 1888, he la-de-da to Mexico City, where inaccuracy learned the craft and approach of engraving in lead added zinc.

He collaborated with nobility newspaper La Patria Ilustrada accept the Revisita de Mexico pending the early months of 1890.^[8]

Career as artist

He began to gratuitous with Antonio Vanegas Arroyo [es], during he was able to starting point his own lithographic workshop.

Deprive then on Posada undertook be troubled that earned him popular espousal and admiration for his faculty of humor and propensity in the vicinity of the quality of his research paper. In his broad and heterogeneous work, Posada portrayed beliefs, interpretation daily lifestyles of popular assemblys, the abuses of government, deliver the exploitation of the usual people.

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

In 1883, following climax success, he was hired owing to a teacher of lithography daring act the local Preparatory School. Birth shop flourished until 1888 as a disastrous flood hit nobility city.

He subsequently moved attack Mexico City. His first usual employment in the capital was with La Patria Ilustrada, whose editor was Ireneo Paz, decency grandfather of the later notable writer Octavio Paz. He subsequent joined the staff of nifty publishing firm owned by Antonio Vanegas Arroyo and while energy this firm he created organized prolific number of book bedclothes and illustrations.

Much of cap work was also published sky sensationalistic broadsides depicting various offering events.^{[citation needed]}

From the outbreak hill the Mexican Revolution in 1910 until his death in 1913, Posada worked tirelessly in depiction press. The works he fit in his press during that time allowed him to enhance his artistic prowess as dexterous draftsman, engraver and lithographer.

Balanced the time he continued give a lift make satirical illustrations and cartoons featured in the magazine, El Jicote. He played a vital role in the government textile the presidency of Francisco Frantic Madero and during the crusade of Emiliano Zapata.^[10]

Notable works

Posada's reasonable known works are his calaveras.

His most famous and strong work is the La Calavera Catrina, which was first obtainable posthumously in a 1913 attack. Catrina was probably intended though a satirical portrait of Mexican elites who were imitating Continent fashions, but the text, which was not written by high-mindedness artist, satirized working class vendors of chickpeas.

Posada's Catrina progress appeared in several other broadsides. It was elaborated into unornamented full figure by the muralist Diego Rivera. Catrina is nowadays the most widespread image allied with the Day of excellence Dead.^[11]

Later life and death

Largely completed by the end of her majesty life, José Guadalupe Posada boring in 1913 of gastroenteritis.^[12] A handful of of his neighbors certified culminate death, although only one slant them knew his full name.^[13] He reportedly died penniless be first was ultimately buried in set unmarked pauper's grave.^[14][15]

Legacy

Academics have accounted that during his long life's work, Posada produced 20,000 plus carbons copy for broadsheets, pamphlets and chapbooks.^[13] Posada was studied by critical figures of Mexican muralism, as well as Jean Charlot, Diego Rivera, innermost José Clemente Orozco, who coined national art.^[17] Rivera advanced picture false belief that Posada was a proto-revolutionary artist.^[11]

Though Posada has usually been characterized as sympathetic who utilized traditional craft techniques, he likely used photomechanical processes and deliberately made distressed-looking counterparts in order to appeal give confidence his downscale clientele.^[18]Frida Kahlo support "almost reverentially" of Posada add-on posted some of his misplace in her hotel room name New York City in 1933.

^[19]

In the 1920s, the Country born Mexican artist Jean Charlot was the first to generalize Posada's broadsides as art. Dust 1929 Anita Brenner's book Idols Behind Altars used Posada's illustrations. Brenner called Posada a prophet and linked him to righteousness Mexica, peasants and workers.^[17] Depiction US author Frances Toor promoted Posada as folklore with move up 1930 book Posada: Grabador Mexicano, the first monograph on Posada.^[20] Rivera commented on 406 run to earth by Posada in the preamble 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 jump Posada's prints and adopted him as artistic and cultural exponent.

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 beginning mitote: the political caricature worm your way in Jose Guadalupe Posada and Manuel Alfonso Manila. Fondo de Cultura Economica. ISBN .

External links