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"Octavio Paz probes the mystery of pre-Columbian art--it's 'otherness', its unique concept of time--and connects it to the ideas of Baudelaire and Nietzsche. He tells the estory of Hermenegildo Bustos, a self-taught painter in a remote Mexican village, and compares his work to the sarcophagi portraits of the Egyptian Fayum. He demonstrates how the Mexican muralists--Rivera, Siqueiros, Orozco--were influenced by European Cubism, Fauvism, Expressionism, and how they in turn influenced American painters, Gorky, Rothko, Pollock. The abstract art of Tamayo evokes for him the music of Bela Bartók, and the canvases of María Izquierdo suggest the poetry of Apollinaire. In these fourteen wide-ranging essays, Paz makes art, philosophy, religion, and the history of the world converge as he celebrates the richness of Mexico"--Publisher's description, p. [2] of dust jacket.
This volume collects the work of prominent art critics, art historians, and literary critics who study the art, lives, and times of the leading Mexican muralists José Clemente Orozco, Diego Rivera and, among other artists, David Alfaro Siqueiros. Written exclusively for this book in English or in Spanish, and with a full-length introduction (in English), the selected essays respond to a surging interest in Mexican mural art, bringing forth new interpretations and perspectives from the standpoint of the 21st century. The volume’s innovative and varied critical approaches will be of interest to a wide readership, including professors and students of Mexican muralism, as well as the speculative reader, public libraries, and art galleries around the world.
Hardcover reprint of the original 1922 edition - beautifully bound in brown cloth covers featuring titles stamped in gold, 8vo - 6x9". No adjustments have been made to the original text, giving readers the full antiquarian experience. for quality purposes, all text and images are printed as black and white. This item is printed on demand. Book Information: Lehmann, Walter. the History of Ancient Mexican Art; An Essay In Outline. Indiana: Repressed Publishing LLC, 2012. Original Publishing: Lehmann, Walter. the History of Ancient Mexican Art; An Essay In Outline, . New-York, Brentano's, 1922. Subject: Art
Studies retabloes--Mexican paintings on tin created in the latter half of the nineteenth century--from art, religious, and historical perspectives, and discusses efforts made to restore and conserve the artwork.
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Excerpt from The History of Ancient Mexican Art, Vol. 8: An Essay in Outline The final approach must be the task of philosophy beyond historical and ethnographical investigation. The enigma is rooted in the soul. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
This volume collects the work of prominent art critics, art historians, and literary critics who study the art, lives, and times of the leading Mexican muralists José Clemente Orozco, Diego Rivera and, among other artists, David Alfaro Siqueiros. Written exclusively for this book in English or in Spanish, and with a full-length introduction (in English), the selected essays respond to a surging interest in Mexican mural art, bringing forth new interpretations and perspectives from the standpoint of the 21st century. The volume's innovative and varied critical approaches will be of interest to a wide readership, including professors and students of Mexican muralism, as well as the speculative reader, public libraries, and art galleries around the world.
What is the effect of a nation? In this age of globalization, is it dead, dying, or only dormant? The essays in this groundbreaking volume use the arts in Mexico to move beyond the national and the global to look at the activity of a community continually re-creating itself within and beyond its own borders. Mexico is a particularly apt focus, partly because of the vitality of its culture, partly because of its changing political identity, and partly because of the impact of borders and borderlessness on its national character. The ten essays collected here look at a wide range of aesthetic productions -- especially literature and the visual arts -- that give context to how art and society interact. Steering a careful course between the nostalgia of nationalism and the insensitivity of globalism, these essays examine modernism and postmodernism in the Mexican setting. Individually, they explore the incorporation of historical icons, of vanguardism, and of international influence. From Diego Rivera to Elena Garro, from the Tlateloco massacre to the Chiapas rebellion, from mass-market fiction to the film "Aliens," the contributors view the many sides of Mexican life as relevant to the creation of a constantly shifting national culture. Taken together, the essays look both backward and forward at the evolving effect of the Mexican nation.
Excerpt from The History of Ancient Mexican Art, Vol. 8: An Essay in Outline It is incumbent on the history of art to work upon fixed basic principles applicable to the manifestations of many peoples. Culture is creative. Civilization is exhausted. The former is productive. The latter paramountly reproductive. Thus civilization tends both to syncretism and archaism. The creative part of culture is inherent in that which is artistic. The essence of art raises both the question of generalities and particularities. All art should be judged, examined and comprehended simultaneously from the point of view of humanity, as well as of a people and its representative, the creative artist. No matter the art of which people be examined, it will always be found on closer investigation of phenomena, either similar or dissimilar, that the path leads to something common and superior to both: the enigma of art manifestation per se. The final approach must be the task of philosophy beyond historical and ethnographical investigation. The enigma is rooted in the soul. Indeed, every form of art is the expression of either the individual soul, or that of a generality. And here we discover a very peculiar reciprocity between both. The individual artist is able to move the masses. On the other hand the indistinct sentient life of a nation crystalizes in the artist Though it is not necessary that his name be handed down to posterity. Nor is this the case with folk-songs for instance. Personal art is always imbued with the impersonal. For the genius of the artist and that of a people, if united, always finds its ultimate human expression in creations which, as something eternal, outlasts the mutation of time. What is eternal? - The ideas which are the foundation of all universal phenomena, and therefore evolve the form problems of art. Art is the power to embody ideas in a creative form, and to erect something permanent, though perishable in its exterior in the ever-flowing course of time. A general view of man's multifarious art expression shows, in spite of all the peculiarities of peoples, that there are certain characteristics which permit us to speak of art styles, and great periods in the history of art. It is perhaps a moot question as to how far it is permissible to speak here of a history of development, although an irrefutable sequence is recognizable, showing an historical course in a given movement which we term time. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.