Exchange: Sp22 Forrester - Spanish 230

Sp22 Forrester - Spanish 230 - Hispanic Culture

In the foreground, there is a man laying on a large human-sized book, one hand on his chin and the other holding a pencil to the page. In front of his pencil, the text "Mendez" and "1945" is printed. On the pages of the book are a skeleten-creature and on the opposite page an angel. Behind the man and the book is a large cactus, and then a large cross rises from its base. The cross is encircled by a large snake-like creature whose head is open, facing away, and an eagle is crucified with knives. Coming from the ends of the cross are what seems to be spears, pointing clockwise. Behind this foreground scene, there is an army marching under a flag with the skull and crossbones. A priest follows behind the army, seemingly coming from the open mouth of the large serpent whose tail holds the feet of the crucified eagle. To the left there are two more crucified figures, whose crosses are on fire. In the far background, there is a vista of a large city.

Leopoldo Méndez
Lo que puede venir
1945
woodcut | paper
Museum Purchase
1949/1.181

This pring shows the shoulders and skull of a skeleton wearing a wide brimmed hat adorned with plumes and decorative objects.

José Guadalupe Posada
Calavera de la Catrina
1905 – 1915
relief etching | paper
Museum Purchase
1958/1.124

Francisco José de Goya y Lucientes
Swallow it, dog. (Tragala perro.)
etching, burnished aquatint and drypoint on paper
12 in x 8 in (30.48 cm x 20.32 cm);8 1/8 in x 4 7/8 in (20.64 cm x 12.38 cm);8 1/2 in x 5 7/8 in (21.59 cm x 14.92 cm)
Gift of Kurt Delbanco in honor of Nicholas Delbanco, and partial purchase with the funds from the W. Hawkins Ferry Fund

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This vertical print is bisected by four horizontal light blue squares approximately one third of the way up from the bottom. The second square from the left is joined by a square above and below so that all the liight blue squares create a horizontally oriented cross. Both inside and outside the cross-grid there are seven tan figures, who seem to be engaged in a variety of activities. There are a number of designs that move out from the cross, some related to what is pictured inside and some not. The print is signed and dated (l.l.) "Matta 47" and numbered (l.r.) "57/70" in pencil.

Roberto Matta
I Want To See It To Believe It
1947
color lithograph | paper
Museum Purchase
1947/2.13

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This print shows a figure with a blue body, black head, blue arms, and one black leg and foot and one orange leg and foot in a boneless depiction which resembles the style of a child. There is an orange circle to the right of the figure. A black rectangular outline surrounds the figure and the circle.

Joan Miró
Personnage
1943 – 1953
lithograph | paper
Given by their family in memory of Clement A. and Margaret Earhart Smith
1990/1.269

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In this line drawing, three figures are seated on the ground, in a diagonal row, making hats out of grasses. The first has a large bundle of raw materials, the second appears to be weaving them, and the third, a woman, is holding a nearly finished hat. Behind them is a large pile of hats.

Diego Rivera
Hat Makers
1931
India ink | india ink on paper
Gift of Mrs. Florence L. Stol
1964/2.42

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Antoni Clavé
Bull Fight
1913 – 1951
color lithograph | paper
Museum Purchase
1951/2.45

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This woodblock print depicts a man in trousers and a jacket compacted into the space of the print. The man is kneeling on his left knee while his right foot is raised and pushed up against a surface on the left of the image. Both of his arms are raised, with the left jutting out towards the viewer and the palm of his hand is fully visible. The numbered and print is signed (l.c.) "3 Pepe Ortega" in pencil.

José Ortega
El bache
1952 – 1953
woodblock print | paper
Museum Purchase
1954/1.59

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Centered in the page on this print are two dark-skinned figures wearing pink-skinned masks. They are both dressed identically in white shirts and tights, with black boots, matching black knickers, and capes trimmed in gold. Each figure holds a small circular shield in one hand and a sword in the other—both in white. Both seem to be leaping in the air.

Carlos Mérida
Danza de los Santiagos
1937 – 1939
lithograph | paper
Museum Purchase
1944.5

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Winding through the center of this print, a melting clock oozes from the top right to the bottom center in red, yellow and blue. To the left of the base of the clock is a bright orange and red bolder. In the background, there is a large landscape with mountains and a cloudy sky. There are three figures in the scene. At the bottom right, a figure is seated with a staff and behind it is a large shape in yellow, red and blue. At the center, there is a sketch of a mounted figure on a rearing horse; and at the upper right, there is a figure with a strong shadow. The print is signed (l.r.) and numbered (l.l.) in pencil.

Salvador Dali
Espace-temps en fusion
1975
drypoint etching, lithograph, screenprint | paper
Anonymous Gift
1981/2.110.8

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This landscape of a town has trees and a few figures in the foreground, homes in the midground, and the skyline of a small city in the background.

Carlos Lopez
Ann Arbor, Home of the University of Michigan
1947
gouache | paper
Gift of the J.L. Hudson Company
1956/1.91

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A mixed media assemblage consisting of welding goggles, rusted metal, a padlock, and two rusted bells hanging from a chain mounted on a wooden board with screws. The position of the objects, with goggles at the top, makes the assemblage look vaguely face-like.

George Vargas
Michigan Worker
welding goggles, metal, hanging bells, rusty bottle cap, pulleys, chains, and padlock mounted on plywood
20 7/8 in x 10 3/8 in x 2 9/16 in (53.02 cm x 26.35 cm x 6.51 cm);20 7/8 in x 10 3/8 in x 2 9/16 in (53.02 cm x 26.35 cm x 6.51 cm)
Gift of the artist

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