Yllanes, Alejandro Mario (1913–1960)

2018 ◽  
Author(s):  
Imma Ramos
Keyword(s):  
Latin America ◽  
Visual Arts ◽  
Mexican Revolution ◽  
Political Art ◽  
La Paz ◽  
Diego Rivera ◽  
National Pride ◽  
Jose Clemente Orozco

Alejandro Mario Yllanes was a Bolivian Aymara painter, engraver, and muralist. His art career began with an exhibition in his hometown of Oruro in 1930, when he was nineteen years old. Shortly afterwards he moved to La Paz, where he worked as an illustrator for the periodical Semana Grafica, during which time he became acquainted with the artists Arturo Borda and Cecilio Guzmán de Rojas. All three Bolivian artists were influenced by the so-called indigenism or indigenismo movement, which gained momentum in Latin America from the 1920s onwards. The movement was characterized by the promotion of national pride and a nostalgic celebration of the Inca and pre-Columbian past, as reflected in literature and the visual arts. Yllanes was driven by a desire to encourage a spirit of community amongst the native Bolivians, and his works often portray locals in traditional Andean dress, carrying out pre-conquest rituals and customs. His incorporation of styles and techniques influenced by Post-Impressionism, Cubism, and Mexican Muralism show his engagement with modernist trends. The latter movement was headed by Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros. Their socio-political art—inspired by the Mexican Revolution—fueled Yllanes’s own work, which he combined with a rootedness to local narrative and materials.

Mexican Muralism (c. 1920–1940)

2018 ◽  
Author(s):  
Sara Stigberg
Keyword(s):  
National Identity ◽  
Social Identity ◽  
Mexican Revolution ◽  
Modern Art ◽  
Mural Painting ◽  
National Discourse ◽  
Diego Rivera ◽  
Art Form ◽  
Jose Clemente Orozco

The Mexican Muralist movement was a nationalistic movement that aimed at producing an official modern art form distinct from European traditions, thus embracing and clearly expressing a unique Mexican cultural and social identity. Shortly after the Mexican Revolution (1910–1920), expatriate Mexican artists were summoned to return to the country. They were charged with creating public murals on government buildings, which would visually communicate unifying ideals to a largely illiterate population. Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros, known collectively as Los Tres Grandes or The Great Three, were key figures in the movement. The architectural aspect of the large murals created during this period underscores the government’s and artists’ belief in art as a social and ideological tool, and reflects a desire to establish permanent expressions of a national identity. The works embraced and elevated mural painting in Mexico from a popular form to a form of high art. Further, the movement embodied social ideals manifested in the muralists’ work alongside carpenters, plasterers, and other laborers. The 1930s saw the solidification of a leftist national discourse, but by the 1940s, the major political developments in Mexico and Europe resulted in significant redefinition of this ideology, and Mexican Muralism became out-dated.

The Mexican Muralists and Frida Kahlo

2017 ◽  
Author(s):  
Leonard Folgarait
Keyword(s):  
United States ◽  
Mexican Revolution ◽  
The United States ◽  
Mural Painting ◽  
General Sense ◽  
Diego Rivera ◽  
Frida Kahlo ◽  
Mural Paintings ◽  
Art Form ◽  
Jose Clemente Orozco

The major art form produced in Mexico during the years following the Mexican Revolution of 1910, especially during 1920–1940, was mural painting, mostly in the technique of fresco. Three artists dominated this period: Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros, known collectively as the Big Three. Rufino Tamayo, younger and less ideologically aligned to those three, followed his own path of a more modernist style. An important easel painter of this period was Frida Kahlo, who traveled in the cultural and political circles of the muralists but who produced strongly personal images, especially of herself. In addition, examples of mural paintings by the Big Three in the United States receive their due attention, as does the more independent mural production in Mexico of the late 20th and early 21st centuries. The paintings are analyzed in terms of context, meaning brief references to biographical details, more expansive on the general sociohistorical setting, with accounts of the patronage where highly relevant, and relations between the artists themselves. Discussions of the style of the images, in the most comprehensive and general sense, are dedicated to revealing the ideological content of the style as it serves the more straightforward subjects of the paintings.

Unrevolutionary Mexico

2021 ◽  
Author(s):  
Paul Gillingham
Keyword(s):  
Twentieth Century ◽  
Latin America ◽  
Mexican Revolution ◽  
Cultural Control ◽  
Partido Revolucionario Institucional ◽  
Authoritarian State ◽  
Entry Points ◽  
Low Culture ◽  
New Generation

Unrevolutionary Mexico addresses how the Mexican Revolution (1910-1940) turned into a capitalist dictatorship of exceptional resilience. While soldiers seized power across the rest of Latin America, in modern Mexico the civilians of a single party moved punctiliously in and out of office for seventy-one years. The book uses the histories of the states of Guerrero and Veracruz as entry points to explore the origins and consolidation of this unique authoritarian state on both provincial and national levels. An empirically rich reconstruction of over sixty years of modernization and revolution (1880-1945) revises prevailing ideas of a pacified Mexico and establishes the 1940s as a decade of faltering governments and enduring violence. The book then assesses the pivotal changes of the mid-twentieth century, when a new generation of lawyers, bureaucrats and businessmen joined with surviving revolutionaries to form the Partido Revolucionario Institucional, which held uninterrupted power until 2000. Thematic chapters analyse elections, development, corruption and high and low culture in the period. The central role of military and private violence is explored in two further chapters that measure the weight of hidden coercion in keeping the party in power. In conclusion, the combination of provincial and national histories reveals Mexico as a place where soldiers prevented coups, a single party lost its own rigged elections, corruption fostered legitimacy, violence was concealed but decisive, and ambitious cultural control co-existed with a critical press and a disbelieving public. In conclusion, the book demonstrates how this strange dictatorship thrived not despite but because of its contradictions.

Tamayo, Rufino (1899–1991)

2018 ◽  
Author(s):  
Valentina Locatelli
Keyword(s):  
Latin American ◽  
Abstract Expressionism ◽  
American Art ◽  
Latin American Art ◽  
Diego Rivera ◽  
Avant Garde ◽  
The World ◽  
Emotional Aspects ◽  
Poetic Realism ◽  
Jose Clemente Orozco

A Mexican painter and muralist of indigenous heritage, Rufino Tamayo was one of the most important representatives of figurative abstraction and poetic realism in 20th-century Latin American art. A supporter of the universalistic approach to art, in the late 1940s he started a controversy—the so called ‘‘polémica Tamayo’’—by positioning himself against the classical Mexican school and its ‘‘Big Three,’’ the muralists José Clemente Orozco, Diego Rivera and Alfaro Siqueiros. Contrary to the stress they put on art as political, Tamayo focused on its poetic and emotional aspects. Tamayo’s art is based both on Mexican figurative traditions (characterized by the rigor and geometry of pre-Hispanic sculpture and its imaginative and magical character), and on the influence of European and North American avant-garde movements, especially Impressionism, Fauvism, Cubism, Futurism, Surrealism and Abstract Expressionism. His sensibility for nature and spirituality, his interest in ordinary people, and his ability to synthesize different pictorial languages with Mexican folk art and beliefs, have made him a very popular artist, nationally and internationally. Throughout his career Tamayo directed his effort ‘‘towards the salvation of painting, the preservation of its purity and the perpetuation of its mission as translator of the world’’ (Paz 1985: 23).

scholarly journals A New Bolivian Trachysphyrus of the Imperialis Group (Hymenoptera, Ichneumonidae)

1969 ◽  
Vol 76 (3) ◽  
pp. 362-366
Author(s):  
Charles C. Porter
Keyword(s):  
Latin America ◽  
South American ◽  
South American Species ◽  
La Paz ◽  
Abundance And Diversity

Entomologically, Bolivia is perhaps the least known part of Latin America. In 1967, when I published a monograph of the nearly 100 predominantly Andean and southern South American species of Trachysphyrus, I could include onty two records from that country, although adjacent Perú, Chile, and Argentina were each found to be major centers of abundance and diversity for Trachysphyrus. In March of 1968, however, when I was able to spend a week collecting near La Paz, I discovered an abundant and conspicuous new Trachysphyrus belonging to the group of T. imperialis Haliday, as defined in my earlier study (Porter 1967, p. 275).

Pancho Villa and the Multinationals: United States Mining Interests in Villista Mexico, 1913–1915

1991 ◽  
Vol 23 (2) ◽  
pp. 339-363 ◽  
Author(s):  
William K. Meyers
Keyword(s):  
United States ◽  
Land Reform ◽  
Mexican Revolution ◽  
The United States ◽  
Political Rights ◽  
Military Leader ◽  
National Pride ◽  
Northern Mexico ◽  
Popular Movement ◽  
Mexican Politics

Pancho Villa is an intriguing figure of the Mexican Revolution. His popular movement dominated northern Mexico from 1913 to 1915, greatly influencing the revolution's course and the character of modern Mexican politics. As a revolutionary, Villa remains immortalised as a bold and charismatic military leader who rose from poverty to attack the wealthy and powerful while championing peasants' and workers' rights. He also stands as a prominent symbol of national pride, a leader who fought against foreign domination and dared to attack the United States directly. But how ‘revolutionary’ were Villa and the Villista movement? What did they actually accomplish? If Francisco Madero stands for political rights and democracy, Emiliano Zapata for land reform, and Venustiano Carranza for nationalism and the 1917 Constitution, whatdoes Villa represent?

Indian Communities, Political Cultures, and the State in Latin America, 1780–1990

1992 ◽  
Vol 24 (S1) ◽  
pp. 35-53 ◽  
Author(s):  
Florencia E. Mallon
Keyword(s):  
Latin America ◽  
Development Model ◽  
La Paz ◽  
Mexican History ◽  
The Past ◽  
Political Cultures ◽  
Nation States ◽  
The Face ◽  
Linguistic Groups ◽  
Ongoing Formation

In Tlatelolco, in the symbolically laden Plaza of the Three Cultures, there is a famous plaque commemorating the fall of Tenochtitlán, after a heroic defence organised by Cuauhtemoc. According to the official words there inscribed, that fall ‘was neither a victory nor a defeat’, but the ‘painful birth’ of present-day Mexico, the mestizo Mexico glorified and institutionalised by the Revolution of 1910. Starting with the experiences of 1968 – which added yet another layer to the archaeological sedimentation already present in Tlatelolco – and continuing with greater force in the face of the current wave of indigenous movements throughout Latin America, as well as the crisis of indigenismo and of the postrevolutionary development model, many have begun to doubt the version of Mexican history represented therein.1 Yet it is important to emphasise that the Tlatelolco plaque, fogged and tarnished as it may be today, would never have been an option in the plazas of Lima or La Paz. The purpose of this essay is to define and explain this difference by reference to the modern histories of Peru, Bolivia and Mexico. In so doing, I hope to elucidate some of the past and potential future contributions of indigenous political cultures to the ongoing formation of nation-states in Latin America.As suggested by the plaque in Tlatelolco, the process and symbolism of mestizaje has been central to the Mexican state's project of political and territorial reorganisation. By 1970, only 7.8 % of Mexico's population was defined as Indian, and divided into 59 different linguistic groups.

The Revolution and Mexican Foreign Policy

1969 ◽  
Vol 11 (4) ◽  
pp. 518-532 ◽  
Author(s):  
James F. Engel
Keyword(s):  
United States ◽  
Foreign Policy ◽  
Latin America ◽  
Mexican Revolution ◽  
Political Stability ◽  
The United States ◽  
Developing Nations ◽  
Primary Concern ◽  
Shed Light ◽  
The Revolution

In recent years the foreign policy of Mexico has often been criticized in the United States. The reaction of Mexico to steps taken by the United States in Latin America—in Cuba, the Dominican Republic, and elsewhere—has led to statements about Mexican foreign policy that indicate little understanding of Mexican mentality, history, and approach to international problems. Of primary concern in any attempt to shed light on the foreign policy of Mexico is the place of the Mexican Revolution in shaping the nation's approach to international problems.The Mexican Revolution has had profound effects on the development of the country. Since the beginning of the Revolution in 1910, Mexico has followed a path to political stability unique in Latin America. The Revolution and its effects on subsequent Mexican attitudes have been studied by many scholars in attempts to learn lessons for the other developing nations of the hemisphere.

scholarly journals Research on Echinoderms in Latin America V

2021 ◽  
Vol 69 (Suppl.1) ◽  
pp. I-XXIII
Author(s):  
Rebeca Granja-Fernández ◽  
María-Dinorah Herrero-Pérezrul ◽  
Juan-José Alvarado
Keyword(s):  
Latin America ◽  
New Species ◽  
Latin American ◽  
Baja California ◽  
Baja California Sur ◽  
La Paz ◽  
Scientific Papers ◽  
The City ◽  
Species Taxonomy ◽  
New Distribution

It is a pleasure for us to present this compendium that represents the sixth product of publications of the Iberoamerican Echinoderm Network (RIE), corresponding to 40 scientific papers presented at the Fourth Latin American Conference of Echinoderms, held from November 10th to 15th 2019 in the city of La Paz, Baja California Sur, Mexico. These works encompass aspects of echinoderms such as descriptions of new species, taxonomy, lists of species, new distribution records, paleontology, ecology, reproduction, physiology and aquaculture.

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