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Original 1947 Raul Anguiano Ink Drawing of Monumento a la Revolución Mexico City

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We are offering... Original 1947 Raul Anguiano Ink Drawing of Monumento a la Revolución Mexico City This bold ink drawing by Anguiano depicts a view of the Monumento a la Revolución (Monument to the Revolution), a very important monument in Mexico City, and the largest triumphal arch in the world.This view is of the monument before it was remodeled in 2010, and thus depicts a version of this interesting structure that would later see many changes. This drawing shows the monument bustling with people walking around and a book vendor in the bottom right corner. Well depicted are the very interesting architectural elements that make this structure one of the most fascinating in Mexico city. This drawing is painted with black ink and gouache using a brush. Underneath the painting, there is the original pencil sketch. Two strips of paper were added to the drawing to expand the paper, and along with the white gouache, it shows that this piece was intended for publishing. It is signed and dated on the top left, and initialed in the bottom right. On the Monumento a la Revolución: "The building was initially planned as the Federal Legislative Palace during the regime of president Porfirio Díaz and "was intended as the unequaled monument to Porfirian glory." The building would hold the deputies and senators congress chambers, but the project was not finished due to the war of Mexican Revolution. Twenty-five years later, the structure was converted into a monument to the Mexican Revolution by Mexican architect Carlos Obregón Santacilia. The monument is considered the tallest triumphal arch in the world, it stands 67 metres (220 ft) in height. The project was planned in 1897, and the government allocated 5 million pesos for its construction. Since the building was a major public project, there was a competition to design it, but no contender was given the first prize. After numerous scandals for the competition and its conditions, the government of Porfirio Díaz appointed a French architect, Émile Bénard to design and construct the palace. The government's selection of a Frenchman as architect, who produced a neoclassical design with "characteristic touches of the French renaissance,", points to government officials' aim to demonstrate Mexico's rightful place as an advanced nation. Díaz laid the first stone in 1910 during the centennial celebrations of Independence, when Díaz also inaugurated the Monument to Mexican Independence ("The Angel of Independence"). The building structure was constructed with iron and rather than local Mexican materials used in the stone façade, the design called for Italian marble and Norwegian granite. Although the Díaz regime was ousted in May 1911 due to the war of Mexican Revolution, the new President Francisco I. Madero, "the Apostle of Democracy," continued the legislative building's construction until 1913, when he was murdered. After Madero's death, the project was cancelled and abandoned for more than twenty years. The structure remained unfinished until 1938, being completed during the presidency of Lázaro Cárdenas. The Mexican architect Carlos Obregón Santacilia, proposed to convert the abandoned structure into a monument to the heroes of the Mexican Revolution. After his project was approved, the adaptation of the structure began in an eclectic Art Deco and Mexican socialist realism style, over the existing cupola structure of the Palacio Legislativo Federal (Federal Legislative Palace). Mexcian sculptor Oliverio Martínez designed four stone sculpture groups for the monument, with Francisco Zúñiga as one of his assistants. The structure also functions as a mausoleum for the heroes of the Mexican Revolution of 1910, Francisco "Pancho" Villa, Francisco I. Madero, Plutarco Elías Calles, Venustiano Carranza, and Lázaro Cárdenas. Revolutionary general Emiliano Zapata is not buried in the monument, but in Cuautla, Morelos. The Zapata family has resisted the Mexican government's efforts to relocate Zapata's remains to the monument. This drawing is done in black ink and gouache, using both brush strokes. The original pencil sketch can be seen underneath the black. White gouache can be seen over the black in some details, showing that this piece was likely for publication." (wikipedia) Raul Anguiano, Mexican (1915 - 2006) Raúl Anguiano was born in Guadalajara, Jalisco, on February 26th, 1915. He started drawing cubist pictures at the age of 5, taking as his first models movie stars, as Mary Pickford, Pola Negri and Charlie Chaplin. Anguiano recalls that his first artistic influence or aesthetic emotion came from the Holy Family by Rafael Sanzio. At the age of 12, Anguiano attended Guadalajara's Free School of Painting under the tuition of Ixca Farias. From 1928 to 1933, he studied with the Master painter José Vizcarra, the disciple of Santiago Rebull and José Salomé Piña, and organised the group "Young Painters of Jalisco" with other artists. During this period, Anguiano worked with different kinds of models: workmen, employees and a few intellectuals like Pita Amor. In 1934 Anguiano moved to Mexico City. He began teaching in primary schools and taught drawing and painting at La Esmeralda academy and the UNAM School of Art. Anguiano is member of the Mexican Artistic Renaissance movement which was started in the 1920's by the Mexican School of Art in which he belonged. This renaissance began with the San Carlos Academy movement -- among whose leaders were Ignacio Asúnsolo and Jose Clemente Orozco -- and which emerged out of the students’ and teachers’ discontent with the traditional paintings methods (academicism), and the close contact that the young artists had with the problems of Mexico and its people, explaining the marked critical realism to the painters of the time, including Anguiano himself. The same year, Anguiano received a commission to paint his first mural, Socialist Education, a 70 meters fresco located at A. Carrillo School in Mexico City. Other works followed, including Mayan rituals (oils on canvas and wood), for the Mayan Hall in the National Museum of Anthropology, and Trilogy of Nationality (acrylic on canvas and wood), for the Attorney General’s Office. In 1936 he moved into his surrealist period, which lasted almost a decade. He painted circus performers and prostitutes. The most notable among his works of the time are: The Madame (gouche, 1936), The Clown's Daughter (oil, 1940), the Pink circus artist and the Grey circus artist (oil, 1941). Also during this period, Anguiano produced a series of drawings based on his dreams, with cold tones and silver-greys predominating. In 1937 Anguiano joined the Revolutionary Writers and Artists League. Together, with Alfredo Zalce and Pablo O'Higgins, he was also a founding member of the Popular Graphics Workshop, where artist practised a graphic style based on Mexico's folk traditions. This was due to the powerful influence of the recently discovered Jose Guadalupe Posada and Goya. Raúl Anguiano belongs to the so-called "Third Generation" of post-revolutionary painters, along with Juan O'Gorman, Jorge González Camarena, José Chávez Morado, Alfredo Zalce, Jesús Guerrero Galván and Julio Castellanos, all known for being unorthodox, associated in politics and in art, while at the same time, holding to certain traditional canons. Anguiano's work is viewed as an expression of its time because of its undeniably Mexican flavour, and the link to his people is clear, not only in his murals but also on canvas, etchings, pencil and ink drawings, lithographs and illustrations, and also more recently in sculpture and ceramics. Without compromising his personality or ethnic roots, and at the same time not allowing them to limit him, Anguiano has vindicated and taken advantage of the principles of modern art, giving him a universal and transcending character of his boundary work. Anguiano held his first solo exhibition, entitled "Raúl Anguiano and Máximo Pacheco" at the Palace of Fine Arts in Mexico City, in 1935; and in 1940 he took part in his first collective exhibition "Twenty Centuries of Mexican Art". These were followed by more than 100 shows in many countries as Cuba, Chile, Colombia, Brazil, United States, France, Italy, the former Soviet Union, Israel, Germany and Japan. His most recent exhibitions include the presentation of a series of four colour lithographs, held at the Hall of Graphic Arts SAGA 88, from 1989 to 1990, in Paris; and the retrospective look at Anguiano's work in graphics (1938-1940), held at the National Print Museum in Mexico City in 1990. Since 1982, Anguiano has been full member of Mexico City's Academy of Arts, and since 1993, he has also been Creator Emeritus of National System to the Creators of Art. Approximate Dimensions: Height: 16 " Width: 21 1/4" Condition: Very good age appropriate condition. There are no stains and crinkling of the proof paper. Please see all photos for a complete description. Because of the value of this piece it will be professionally packaged, shipped and insured Any overage on shipping will be gladly refunded All California residents must pay state sales tax LOC J
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