SKU: 67764728257

Mario Martin del Campo - Trabajadores

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Mario Martin del Campo - TrabajadoresThis print measures 16. 5" x 13. 5" (41cm. x 34cm.), in very good condition. Signed and numbered 88 100. Done in Mexico City, in 1983. In excellent condition. Mario Martin Del Campo was born in 1945 in Guadalajara. Despite having made formal art studies in San Carlos, Del Campo never left his attachment for gold and delight for the refined materials to make handicrafts, the admiration he acquired in his native Jalisco. On the other hand, it was the

This print measures 16.5" x 13.5" (41cm. x 34cm.), in very good condition. Signed and numbered 88/100.

Done in Mexico City, in 1983. In excellent condition.

 

Mario Martin Del Campo was born in 1945 in Guadalajara. Despite having made formal art studies in San Carlos, Del Campo never left his attachment for gold and delight for the refined materials to make handicrafts, the admiration he acquired in his native Jalisco. On the other hand, it was the work of Remedios Varo a great influence for him to exercise his visual narratives of sleep and consciousness. Thus, little by little his work was classified in the world of fantastic surrealism, mainly by its constant metaphorical and symbolic games. Nevertheless, the artistic production of Mario Martin Del Campo also extended to the sculpture, the jewelry, the object art and the design of scenographies, costumes, masks and puppets. 

 

"Uno de los últimos artistas del realismo fantástico, cuyos trabajos poseen un rigor renacentista y una perfección impresionante. «Además de todo eso, él tiene una peculiaridad, la cual es el humor. Él es un ángel muy seguro y cargado de humor. Ese niño suyo lo deja salir y está dentro de sus obras». Agregó Echeverría. El dibujante, pintor, grabador, escultor, diseñador y orfebre originario de Guadalajara, estudió en la Escuela Nacional de Artes Plásticas de San Carlos, Universidad Nacional Autónoma de México y cuenta con mas de 50 exposiciones individuales aproximadamente hechas en toda su vida.

Ha expuesto sus obras desde 1977 en Europa, E.U.A., Canadá, Centro, Sudamérica y México.

Ha diseñado escenografías, vestuario, máscaras y títeres para las óperas Falstaff y Don Giovanni que han pasado en el teatro del Palacio de Bellas Artes.

Trabajos de escultura a través de instrumentos musicales, pintura y otros medios hechos de concha, madera y huevos de avestruz que forman vehículos, animales fantásticos y títeres,"

"Pocos artistas pueden aspirar en México al título de polímata como el maestro Mario Martín del Campo, por la diversidad y profundidad de los conocimientos que aplica a distintas disciplinas, desde el dibujo y la pintura hasta la escultura y la joyería, del diseño de vestuarios a la confección de marionetas, pasando por su talento para convertir objetos de uso común en raras invenciones prodigiosas.

Las páginas de Alucinaciones permiten adentrarse en el trabajo dibujístico, pictórico, gráfico, escultórico, artesanal, escenográfico y lúdico de un creador cuya trayectoria asciende, desde sus inicios artesanales, al dominio de una gran cantidad de materias, algunas de las cuales parecieran imposibles de ser dominadas por una sola persona."

Ester Echeverría

 


 

Mexico has the oldest printmaking tradition in Latin America. The first presses were established there in the 16th mainly to print devotional images for religious institutions. Because of their ephemeral nature, few of these early impressions survive. A rare early exception is a 1756 thesis proclamation printed on silk presented by a candidate for a degree in medicine. With the introduction of lithography to Mexico in the nineteenth century, printmaking and publishing greatly expanded, and artists became recognized for the character of their work. José Guadalupe Posada (1851–1913) is often regarded as the father of Mexican printmaking. His best-known prints are of skeletons (calaveras) published on brightly colored paper as broadsides that address topical issues and current events, love and romance, stories, popular songs, and other themes. Posada demonstrated how effective prints were for creating a visual language that everyone could understand and enjoy. In the early twentieth century, their example had a profound impact on artists who, in response to the turbulent political climate and social unrest, were similarly eager to reach broad audiences.

 

The best-known artists in Mexico from the early decades of the twentieth century are Diego Rivera, José Clemente Orozco (1883–1949), and David Alfaro Siqueiros (1896–1974)—“Los tres grandes” (The Three Greats). They were all committed to politics but expressed their views through their art in very different ways. Of the three, Rivera—who returned to Mexico from Europe at the invitation of the government in 1921 to work on a mural project—rose to greatest prominence. Rivera’s 1932 lithograph Emiliano Zapata and His Horse, based on a detail from one of his murals at the Palace of Cortés Cuernavaca to the south of Mexico City, has become an iconic twentieth-century print. Zapata was a landowner-turned-revolutionary who formed and led the Liberation Army of the South. He embodied the aims of agrarian struggle that aspired to improve conditions for those who worked on the land. Zapata was assassinated in April 1919. Rivera’s print conflates different moments of oppression with optimistic emancipation. It was commissioned and published by the Weyhe Gallery in New York for sale to American collectors. Orozco and Siqueiros also made prints for the U.S. market, a number of which are devoid of political content.

 

The establishment of the print collective known as the Taller de Gráfica Popular (Workshop of Popular Graphic Art, TGP) in Mexico City in 1937 best expresses the symbiosis between prints and politics that had developed in Mexico. Its founders, Leopoldo Méndez (1902–1969), Luis Arenal (1908/9–1985) and Pablo (Paul) O’Higgins (1904–1983), were committed communists who abandoned mural painting to concentrate on printmaking, demonstrating how important prints had become as a vehicle for artistic, social, and political expression. Some of its members had belonged to the League of Writers and Revolutionary Artists (LEAR), which had been launched in 1934. The TGP has a fascinating history steeped in astonishing artistic production and political intrigue. The Bolshevik revolutionary and Marxist theorist Leon Trotsky arrived in Mexico in 1937, much to the horror of the communists represented by Siqueiros, who regarded him as a pro-fascist provocateur. Rivera was a supporter of Trotsky and established a Mexican branch of the Fourth International, a socialist organization that had its own journal, Clave, and ran articles attacking the USSR and the Mexican Communist Party. Siqueiros, then a guest member of the TGP, with fellow printmakers Antonio Pujol (1913–1995) and Luis Arenal, led an attempt to assassinate Trotsky in May 1940. The TGP workshop was their rendezvous point. After the failed attempt, Pujol ended up in prison and Siqueiros fled the country. Their action caused terrible ruptures in the TGP, with some remaining committed to the communist cause and others pressing for a more moderate line.

 

By 1947, the year that the Society of Mexican Printmakers was founded, printmaking had broadened its horizons far beyond its proletarian roots. In fact, printmaking was now considered to be the most intimate of media. Post World War II artist felt a need to reassert private values in opposition to highly politicized work. They opened the way to more subjective investigations of personal identity and myth.

 

Jose Luis Cuevas, Rufino Tamayo, and Francisco Toledo are fine examples of the new sensibility. These later artists have kept alive Mexico’s reputation for excellence in the graphic arts. A common Mexican trait on either side of the U.S.–Mexico border is the passionate interest in Mexicanidad (Mexicanness) and what comprises Mexican identity. Perhaps this obsession to understand the concept of Mexicanidad comes from nearly five centuries of mestizaje – the interracial and cultural mixing that first occurred in Mesoamerica among Native Indigenous groups, European Spanish and enslaved Africans during the 1520s. By the 18th century, Mexican identity had developed. Mestizaje was the process that constructed it. The museum’s permanent collection showcases the dynamic and distinct Mexican stories in North America, and sheds light on why Mexican identity cannot be regarded as singular; its vast diversity defies any notion of one linear history. -

 

Nuestras Historias destaca la colección permanente del museo, la cual expone las historias dinámicas y diversas de la identidad mexicana en Norteamérica. La exhibición muestra la identidad cultural como algo que evoluciona continuamente a través del tiempo, de regiones y de comunidades,  en vez de señalarla como una entidad estática e inmutable, exhibiendo para esto, artefactos mesoamericanos y coloniales, arte moderno mexicano, arte popular, y arte contemporáneo de los dos lados de la frontera EE.UU-México.  La gran diversidad de identidades mexicanas mostradas en estas obras desafía la noción de una sola historia lineal e identidad única. 

 



 
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𝔹𝕠𝕠𝕜𝕄𝕠𝕥𝕙
Birmingham, US
★★★★★ 4
Best academy I've read this year
Format: Kindle
I need a few things when it comes to a first book of a PNR romance series 1-Good world building (which this totally did) 2-An FMC I can root for (oh hell yes, Pandora is someone I can cheer for) 3-Good drama (can you say GROVEL BOYS!) 4-Enough story to make you feel like you really read something with meat (you saw this book is like 600 pages, yeah?) 5-A hook at the end so I want more! (please, Lyra, gimmie more?!? I need more!!) Be aware this book is a slow burn, but damn do I feel like there'll be some big payoff when it finally happens. Who doesn't like the buildup?
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Reviewed in the United States on June 4, 2024
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Steffikins
Draper, US
★★★★★ 5
Pandora’s Pain, Power, and Passion
Format: Kindle
I absolutely love this new world Lyra Winters has created! The spin on a Demon Academy setting was fresh, unique, and completely addictive. Pandora is a character who immediately captured my heart. Thought to be powerless and enduring years of brutal abuse from her mother, it’s no surprise that her powers emerge at the exact moment she needs them most. After her mother’s death, Pandora discovers her father is none other than Death himself, a soul eater with a dark legacy. Her journey at the academy is anything but easy, filled with challenges tied to her father’s infamous reputation, her barely controlled abilities, and the cruelty of those around her. Pandora is easy to root for, you feel every ounce of her pain, resilience, and growth. Along the way she meets Reed, a half-human dream demon who’s kind, steady, and the kind of friend everyone wishes they had. There’s also Hunter, a vengeance demon and counselor connected to her father, who adds another intriguing layer to her story. Then there are the bullies: Dexter, a brooding shadow demon; Bram, a chaos demon with a drinking problem and deep hatred for demon nobility; and Skel, a fear demon wrestling with his own darkness. They might hurt her, but they also can’t seem to stay away when she’s in danger, making for some deliciously complicated dynamics. This book hits so many of my favorite tropes: friends to lovers, enemies to lovers, and of course, the irresistible “who hurt you?” storyline. I devoured it, and I’m already diving straight into book two!
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Reviewed in the United States on September 4, 2025
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Brandi
Louisville, US
★★★★★ 5
So good!
Format: Kindle
Oh my goodness! What did I just read? Lyra Winters you have some serious explaining to do! That cliffhanger killed me! I am so happy to be back in the world of Kalista. This is definitely darker than Fates Hollow but oh so good. This is a fated mates reverse harem which I absolutely love. Pandora had a very hard and rough upbringing. She lives in pain constantly and it makes it hard on her. She struggles with everything because she was kept so isolated and is new to her magic. Pandora gets sent to the Reform Academy and all of them have reasons why they are there. I love how, after everything she has been through, she is still a nice person. She is growing and becoming stronger too. Love her character. The guys all act like jerks at first but all have a back story that helps understand why even though want to smack them. I'm here for the groveling that I'm sure will come. I love them all. They each bring something for her. They are all drawn to her though. This is a slow burn book but there will be more books in the series so sure it will build. Man, that cliffhanger was a doozy and need book 2 now!
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Reviewed in the United States on June 3, 2024
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Courtenay
Bozeman, US
★★★★★ 3
Good-ish
Format: Kindle
🌶️ 0/5 ⭐️ 3/5 I will preface this by saying I am not a huge RH fan. However it didn’t feel like a RH quite yet. The relationships and plot are all building in this book. At first I was thinking things were happening stupid fast since she’s had zero interaction with another being and has been tortured her whole life, and I believe they were for one side of the relationship, but by 50% things moved too slow lol. Idk I think the main 1-3 guys I’m actually interested in more than the others didn’t get enough air time so I hope the next book things start moving with them since it ended the way it did.
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Reviewed in the United States on April 12, 2025
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Florina3090
Chelsea, US
★★★★★ 5
Can I have Term 2 now?
Format: Kindle
This is by far my favorite book of Lyra's to date. I gobbled this book up so fast, I was so upset I finished it. I know this is going to be a book I reread, just like Fate Hollow Academy. I loved Fate Hollow Academy, so I was excited when Lyra announced she was taking us readers back to Kalista. Although the characters from Fate Hollow are mentioned several times throughout the book, this book is about Pandora and her love interests in the Demon Realm. Before you deep dive into this book, definitely look at the trigger warnings before you start. When Lyra says there's dark themes in this book, she meant it. Also, just know this book does end on a cliffhanger and will probably leave you with as many questions as it did me. Below may contain some minor spoilers, so keep that in mind if you want to keep reading my review. Pandora's first 2 decades of her life are full of torture, hatred, and confinement in a cellar. That is until her father finds her and brings her into the world she was supposed to live in. Because of her upbringing she wasn't acclimated to the Demon world and the way their society works so when she is offered the chance to go to a Demon Reform Accademy, she accepts it to learn the ways of society and how she is supposed to feed. Pandora isn't like the other common demons in this world, no. She, like her father Death, are soul-eaters. Pandora is too scared to release her powers because she doesn't want to kill anyone, so she needs to learn how to feed off of a piece of soul instead of taking the whole thing. Because of who her father is, she's classed as a Noble, and while she doesn't agree with her fellow Noble students, who look down on the "lower" class, she also is faced with 3 Demons who hate her for being a Noble. Theses a lot of back and forth tension which these 3 demons who have issues of their own. One is obsessed with her, and wants to know all of her secrets. One leaks fear all over the place, but also is scared of the "princess" -wink- -wink-. One is a complete drunk who doesn't like her just because he's got family Noble problems. Don't worry, there are 2 other demons who are just the sweetest towards her. One who will get vengeance for anything done to her, he's got Golden Retriever energy around her and touch her and die energy for anyone around her. Finally, there is one who is friends with her even when the whole school is scared of her, who brings her into his dreams and will create nightmares for those who bother her.
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Reviewed in the United States on June 4, 2024

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