Rivera keeps the big bourgeoise hat that Posada gave to Catrina. Frida Kahlo stands behind and between them. ![]() Rivera depicted himself as a boy who hold's Catrina's hand. Rivera placed Posada (dressed in a black suit) and Catrina in the center of his fresco. The museum was built specifically to house and display Rivera's restored mural. When the 1985 earthquake required the destruction of the hotel, the fresco was moved to the Museo Mural Diego Rivera, which is adjacent to the Alameda Park. Rivera included many historical figures in the fresco, which was originally painted for the Hotel del Prado in the historic center of Mexico City. ĭiego Rivera's mural Sueño de una Tarde Dominical en la Alameda Central ("Dream of a Sunday afternoon in the Central Alameda"), which stretches 15 yards, depicts 400 years of Mexican history from the Spanish Conquest to the Revolution. "El Panteon de las Pelonas" ("Graveyard of bald/dead women"), the fourth Catrina broadside, is dated 1924. Cordova thinks it was printed in the 1920s. The text includes the word "catrines" (male dandies). The third broadside with the image was called "Calaveras de la Cucaracha, Una Fiesta en Ultratumba" ("Calaveras of the cockroach, a fiesta from beyond the grave"). The second publication of Posada's image was in a broadside titled "Han Salido por Fin, Las Calaveras" ("They have finally left"), issued sometime after Antonio Vanegas Arroyo's death in 1917. Though Posada had probably made his print as a criticism of the wealthy elite, the text of the 1913 broadside was a vicious attack on working class women who sold garbanzo beans (instead of foods native to Mexico). The first of these broadsides, published for Day of the Dead in 1913, is titled "Remate de Calaveras Alegres y Sandungueras, Las que hoy son empolvadas Garbanceras pararán en deformes calaveras" ("The Ending of the Cheerful and Sandunga-dancing Calaveras", "those that today are powdered chick pea-vendors will end as deformed Calaveras"). The Vanegas Arroyo family, which published many of Posada's most important works, printed at least four broadsides with Posada's Catrina, all of which have different texts and accompanying images. ![]() Additionally, it has become an icon of Mexican identity, sometimes used in opposition to the Halloween Jack-o'-lantern. La Catrina is a ubiquitous character associated with Day of the Dead ( Spanish: Día de los Muertos), both in Mexico and around the world. Whereas Posada's print likely intended to satirize upper class women of the Porfiriato, Rivera, through various iconographic attributes that referenced indigenous cultures, rehabilitated her into a Mexican national symbol. In 1946-47, the Mexican muralist Diego Rivera (1886-1957) elaborated Posada's creation into a full-scale figure that he placed in his fresco "A Dream of a Sunday Afternoon in the Alameda Park" (now in the Museo Mural Diego Rivera). This image of a female skull with a large hat appeared in at least four broadsides, accompanied by different satiric texts (none written by Posada). ![]() It was first published posthumously in 1913 in a satiric broadside (a newspaper-sized sheet of paper) as a photo-relief etching. La Calavera Catrina ("The Dapper Skull") had its origin as a zinc etching created by the Mexican printmaker and lithographer José Guadalupe Posada (1852-1913) around 1910.
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