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388:, which was first published posthumously in a 1913 broadside. Catrina was probably intended as a satirical portrait of Mexican elites who were imitating European fashions, but the text, which was not written by the artist, satirized working class vendors of chickpeas. Posada's Catrina image appeared in several other broadsides. It was elaborated into a full figure by the muralist Diego Rivera. Catrina is now the most widespread image associated with the Day of the Dead.
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in 1910 until his death in 1913, Posada worked tirelessly in the press. The works he completed in his press during this time allowed him to develop his artistic prowess as a draftsman, engraver and lithographer. At the time he continued to make satirical illustrations and cartoons featured in the
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on 2 February 1852. His father was Germán Posada Serna and his mother was Petra
Aguilar Portillo. Posada was one of eight children and received his early education from his older brother Cirilo, a country school teacher. Posada's brother taught him reading, writing and drawing. He then joined
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In 1883, following his success, he was hired as a teacher of lithography at the local
Preparatory School. The shop flourished until 1888 when a disastrous flood hit the city. He subsequently moved to Mexico City. His first regular employment in the capital was with
233:("The Bumblebee"), where his first cartoons were published. The newspaper closed after 11 issues, reportedly because one of Posada's cartoons had offended a powerful local politician. In 1872, Posada and Pedroza dedicated themselves to commercial lithography in
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Though Posada has usually been characterized as someone who utilized traditional craft techniques, he likely used photomechanical processes and deliberately made distressed-looking images in order to appeal to his downscale clientele.
256:. He survived the great flood of León on 18 June 1888, of which he published several lithographs representing the tragedy in which more than two hundred and fifty corpses were found and more than 1,400 people were reported missing.
237:. While in Leon, Posada opened his own workshop and worked as a lithography teacher at the local secondary school. He also continued his work with lithographs and wood engravings. In 1873, he returned to his home in
346:. He later joined the staff of a publishing firm owned by Antonio Vanegas Arroyo and while at this firm he created a prolific number of book covers and illustrations. Much of his work was also published in
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522:, Méndez got to know about Posada's prints and adopted him as artistic and cultural hero. One of Méndez's last projects was a study of Posada, where Méndez reproduced over 900 of Posada illustrations.
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420:" mural (1946–1947), showing his full figured Catrina image standing beside Posada (dressed in a black suit) and a self-portrait as a boy.
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1063:. Posada, José Guadalupe, 1852-1913., Art Institute of Chicago. (1st ed.). Chicago: Art Institute of Chicago. p. 5.
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spoke "almost reverentially" of Posada and posted some of his prints in her hotel room in New York City in 1933.
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where he married María de Jesús Vela in 1875. The following year he purchased the printing press from
Pedroza.
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456:, who created national art. Rivera advanced the false belief that Posada was a proto-revolutionary artist.
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Academics have estimated that during his long career, Posada produced 20,000 plus images for broadsheets,
798:"José Guadalupe Posada and Diego Rivera Fashion Catrina: From Sellout To National Icon (and Back Again?)"
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José Guadalupe Posada and the
Mexican broadside = José Guadalupe Posada y la hoja volante mexicana
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is usually celebrated in
Central and Southern Mexico during the chilly days of 1 & 2 November
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Iconic Mexico: An
Encyclopedia from Acapulco to Zócalo : An Encyclopedia from Acapulco to Zócalo
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From 1875 to 1888, Posada continued to collaborate with several newspapers in León, including
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Myth and mitote: the political caricature of Jose
Guadalupe Posada and Manuel Alfonso Manila
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8:
1014:. San Antonio: The City of San Antonio, Department of Arts & Culture. pp. 11–12.
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History of Mexico – Mexico's
Daumier: Josejhg Guadalupe Posada, Jim Tuck, Mexico Connect
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on Posada. Rivera commented on 406 prints by Posada in the foreword for the book.
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Skulls to the Living, Bread to the Dead: The Day of the Dead in Mexico and Beyond
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Skulls to the Living, Bread to the Dead: The Day of the Dead in Mexico and Beyond
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Largely forgotten by the end of his life, José Guadalupe Posada died in 1913 of
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151:(2 February 1852 – 20 January 1913) was a Mexican political printmaker who used
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In 1871, before he was out of his teens, his career began with a job as the
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because of its satirical acuteness and social engagement. He used skulls,
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1174:, Getty Research Institute, Research Library, Accession no. 960060.
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was the first to popularize Posada's broadsides as art. In 1929
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The skeleton of the people’s editor (Antonio
Vanegas Arroyo)
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Leopoldo Méndez: Revolutionary Art and the
Mexican Print
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used Posada's illustrations. Brenner called Posada a
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returned from the Cultural Missions programs of the
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499:promoted Posada as folklore with her 1930 book
33: and the second or maternal family name is
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382:. His most famous and influential work is the
828:The Journal of Decorative and Propaganda Arts
467:In the 1920s, the French born Mexican artist
350:broadsides depicting various current events.
342:, the grandfather of the later famed writer
876:. University of Arizona Press. p. 29.
208:Municipal Drawing Academy of Aguascalientes
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16:Mexican political lithographer (1852–1913)
1121:. University of Texas Press. p. 27.
229:for a local newspaper in Aguascalientes,
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898:"The Calaveras of José Guadalupe Posada"
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444:. Posada was studied by key figures of
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315:The workshop of Posada, Mexico, ca 1900
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670:"Mexican artist José Guadalupe Posada"
1096:. John Wiley & Sons. p. 62.
956:. John Wiley & Sons. p. 62.
796:Cordova, Ruben C. (2 November 2019).
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1033:. New York: Vintage Books. pp.
874:Chicana and Chicano Art: ProtestArte
144:, 1903, one of his many broadsheets.
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159:. His work has influenced numerous
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824:"José Guadalupe Posada, Lampooner"
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378:Posada's best known works are his
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872:Carlos Francisco Jackson (2009).
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1150:. Fondo de Cultura Economica.
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283:Reproduction of the restored
149:José Guadalupe Posada Aguilar
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1243:19th-century Mexican artists
778:"Fondo de Cultura Económica"
25:, the first or paternal
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1253:Artists from Aguascalientes
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366:and during the campaign of
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1008:The Day of the Dead in Art
1005:Cordova, Ruben C. (2019).
904:. The Public Domain Review
780:. fondodeculturaeconomica.
501:Posada: Grabador Mexicano,
448:, including Jean Charlot,
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1025:Mitchell, Joseph (1993).
984:. ABC-CLIO. p. 486.
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353:From the outbreak of the
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1146:Barajas, Rafael (2009).
1092:Stanley Brandes (2009).
952:Stanley Brandes (2009).
902:The Public Domain Review
181:Early life and education
1117:Deborah Caplow (2007).
767:, pp. 105, 110–113
743:, pp. 52–57, 64–70
285:Gran calavera eléctrica
1208:20th-century engravers
1203:19th-century engravers
822:Stavans, Ilan (1990).
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483:and linked him to the
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321:Antonio Vanegas Arroyo
319:He began to work with
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44:José Guadalupe Posada
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392:Later life and death
289:Grand electric skull
227:political cartoonist
1228:Mexican printmakers
1029:Up In The Old Hotel
980:Eric Zolov (2015).
932:Clark Art Institute
477:Idols Behind Altars
385:La Calavera Catrina
338:, whose editor was
336:La Patria Ilustrada
265:La Patria Ilustrada
239:Aguascalientes City
197:Posada was born in
191:La Calavera Catrina
174:La Calavera Catrina
155:to produce popular
118:María de Jesús Vela
73:Aguascalientes City
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364:Francisco I Madero
355:Mexican Revolution
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301:Calavera Maderista
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269:Revisita de Mexico
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142:Calavera oaxaqueña
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1103:978-1-4051-7870-9
991:978-1-61069-044-7
963:978-1-4051-7870-9
883:978-0-8165-2647-5
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344:Octavio Paz
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165:cartoonists
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937:21 January
908:21 January
679:31 January
656:References
503:the first
416:Rivera's "
358:magazine,
340:Ireneo Paz
93:Occupation
65:1852-02-02
928:The Clark
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802:Glasstire
650:Nota roja
505:monograph
442:chapbooks
438:pamphlets
380:calaveras
360:El Jicote
303:, in the
231:El Jicote
220:engraving
189:Posada's
169:calaveras
107:Calaveras
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807:13 March
644:See also
489:peasants
475:'s book
267:and the
75:, Mexico
21:In this
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