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As a young man, he was sent by his family to the United States to avoid the dangers of the Mexican Revolution. When Fernández returned home to Mexico City in the early 1920s, the emergence of Mexican muralism greatly influenced his work. In this work, part of a series of expressive woodcuts printed on paper in different colors, Fernández shows how on all sides of the revolution, whole families became involved in the conflict. In “Los inditos,” the soldier dons the wide sombrero favored by the revolutionary followers of Zapata and the mother uses her shawl to carry her baby. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, University Purchase, 1966; Transfer from the Harry Ransom Center, 1982", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Mexican", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.927.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.927.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.927.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.927.tif", "IsPrimary" : "1", "_SurrogateID" : "6878", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 10291, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/10291", "Disp_Access_No" : "1982.908", "_AccNumSort1" : "", "Disp_Create_DT" : "not dated", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Pareja oaxaqueña [Oaxacan Couple]", "Alt_Title" : "Oaxacan Couple", "Obj_Title" : "Pareja oaxaqueña [Oaxacan Couple]", "Series_Title" : "", "Disp_Maker_1" : "Jesús Escobedo", "Sort_Artist" : "Escobedo, Jesús", "Disp_Dimen" : "64.8 cm x 49.8 cm (25 1/2 in. x 19 5/8 in.)", "Disp_Height" : "64.8 cm", "Disp_Width" : "49.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "Jesús Escobedo was a member of the Taller de Gráfica Popular [People’s Graphic Workshop], a socially engaged art collective. In this lithograph, the artist reflects on the growth pf urban Mexico in the 1930s and 1940s. As the population and the number of vehicles transporting them increased, so did the need for automatic traffic lights, which Mexico City began installing in the 1930s. Here Escobedo seems to contrast this conspicuous sign of modern living, the electric traffic light, with the appearance of an Indigenous couple, dressed in traditional clothes. The older rhythms of life seemed forever altered by a set of electric signs regulating their movements through the public space.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of M.K. Hage, Jr., 1970; Transfer from the Harry Ransom Center, 1982", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "Mexican", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.908.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.908.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.908.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.908.tif", "IsPrimary" : "1", "_SurrogateID" : "7098", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 10339, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/10339", "Disp_Access_No" : "1984.28", "_AccNumSort1" : "", "Disp_Create_DT" : "not dated", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Old Injun", "Alt_Title" : "", "Obj_Title" : "Old Injun", "Series_Title" : "", "Disp_Maker_1" : "Charles Banks Wilson", "Sort_Artist" : "Wilson, Charles Banks", "Disp_Dimen" : "39.2 cm x 29.35 cm (15 7/16 in. x 11 9/16 in.)", "Disp_Height" : "39.2 cm", "Disp_Width" : "29.35 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of R.D. Woods, 1984", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "American", "Department" : "Prints and Drawings; American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.28.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.28.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.28.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.28.tif", "IsPrimary" : "1", "_SurrogateID" : "3366", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 10862, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/10862", "Disp_Access_No" : "1982.180.1/2", "_AccNumSort1" : "", "Disp_Create_DT" : "1974-1978", "_Disp_Start_Dat" : "1974", "_Disp_End_Date" : "1978", "Disp_Title" : "Zero cruzeiro", "Alt_Title" : "", "Obj_Title" : "Zero cruzeiro", "Series_Title" : "", "Disp_Maker_1" : "Cildo Meireles", "Sort_Artist" : "Meireles, Cildo", "Disp_Dimen" : "7.1 cm x 15.5 cm (2 13/16 in. x 6 1/8 in.)", "Disp_Height" : "7.1 cm", "Disp_Width" : "15.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Offset lithograph", "Support" : "", "Disp_Medium" : "Offset lithograph", "Info_Page_Comm" : "Cildo Meireles used preexisting systems of circulation to question symbols of national identity and disseminate subversive messages while evading censorship. In this work, he printed his own “worthless” money by using the same language and general style as regular currency. By stripping away the bill’s exchange value, he revealed its symbolic value. For “Zero cruzeiro,” Meireles substituted national heroes with an Indigenous person from the Krahô tribe on one side and a mental patient on the other. According to the artist, the figures represent marginalized groups “to whom society seems to attribute no value.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Paulo Figueiredo, 1982", "Copyright_Type" : "edu; promo; web", "Disp_Obj_Type" : "print", "Creation_Place2" : "Brazilian", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.180.1-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.180.1-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.180.1-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.180.1-2.tif", "IsPrimary" : "1", "_SurrogateID" : "12475", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11433, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11433", "Disp_Access_No" : "1986.286", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1896", "_Disp_Start_Dat" : "1891", "_Disp_End_Date" : "1901", "Disp_Title" : "Zuni Indian Girl", "Alt_Title" : "", "Obj_Title" : "Zuni Indian Girl", "Series_Title" : "", "Disp_Maker_1" : "Grace Carpenter Hudson", "Sort_Artist" : "Hudson, Grace Carpenter", "Disp_Dimen" : "25.9 cm x 16.4 cm (10 3/16 in. x 6 7/16 in.)", "Disp_Height" : "25.9 cm", "Disp_Width" : "16.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Watercolor and egg tempera", "Support" : "", "Disp_Medium" : "Watercolor and egg tempera", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Dr. Edgar and Annie Ray Poth, 1986", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "American", "Department" : "Prints and Drawings; American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.286.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.286.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.286.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.286.tif", "IsPrimary" : "1", "_SurrogateID" : "7764", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11504, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11504", "Disp_Access_No" : "1982.988", "_AccNumSort1" : "", "Disp_Create_DT" : "1922", "_Disp_Start_Dat" : "1922", "_Disp_End_Date" : "1922", "Disp_Title" : "Danzantes [Dancers]", "Alt_Title" : "Dancers", "Obj_Title" : "Danzantes [Dancers]", "Series_Title" : "", "Disp_Maker_1" : "Fernando Leal", "Sort_Artist" : "Leal, Fernando", "Disp_Dimen" : "31.4 cm x 24 cm (12 3/8 in. x 9 7/16 in.)", "Disp_Height" : "31.4 cm", "Disp_Width" : "24 cm", "Dimen_Extent" : "Sheet", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, University Purchase, 1966; Transfer from the Harry Ransom Center, 1982", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "Mexican", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.988.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.988.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.988.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.988.tif", "IsPrimary" : "1", "_SurrogateID" : "6809", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13990, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13990", "Disp_Access_No" : "G1976.21.3", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1886", "_Disp_Start_Dat" : "1881", "_Disp_End_Date" : "1891", "Disp_Title" : "Indian Canoe", "Alt_Title" : "", "Obj_Title" : "Indian Canoe", "Series_Title" : "", "Disp_Maker_1" : "Albert Bierstadt", "Sort_Artist" : "Bierstadt, Albert", "Disp_Dimen" : "69.2 cm x 90.8 cm (27 1/4 in. x 35 3/4 in.)", "Disp_Height" : "69.2 cm", "Disp_Width" : "90.8 cm", "Dimen_Extent" : "frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "During his training at the Arts Academy of Düsseldorf, Albert Bierstadt engaged deeply with the spiritual and sensory tenets of German Romanticism. The movement, both intellectual and aesthetic, emphasized sublime or transcendent experience—a concept that lent itself well to depicting the American West. In landscapes like "Indian Canoe," Bierstadt aimed to convey a sense of the divine through nature. The diminutive figure set amidst the vast sky and towering trees has no individual traits, and serves as a stand-in for the awing experience of the sublime. The sun setting behind a lone Indian may also be read as a signal of the looming decline of Native Americans’ traditional way of life.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of C.R. 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