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Color lithographs
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Study for Denver Mustang
title Study for Denver Mustangdescription Color lithograph on paper, 17.25 in. x 16 in. Proud of his Chicano roots, Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and El Paso. He eventually traveled to Mexico to study the famous Mexican muralists Diego Rivera and José Clemente Orozco, and was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966 Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jimenez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Horses Animals in art Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Las Peleoneras
title Las Peleonerasdescription Color lithograph on paper, 32.5 in. x 39.5 in. Two women fighting and pulling each others' hair outside of a dance club while a group of people look on. Chicana artist and illustrator Carmen Lomas Garza created a series of artworks in which she visually shares memories of growing up in Kingsville, Texas. Here, she presents two women fighting in the center of this print. We have no idea why the two rivals are brawling in front of the El Rio bar. On either side of the two women, onlookers watch the fight. Looking through the port windows of the front door, a man and woman observe the combatants with curiosity. Symbolizing anger and treachery, a small black dog barks at the women, while a full moon floats in the dark sky. The artist stimulates our imagination, so that we can complete our own version of her story. A narrative artist, Carmen Lomas Garza is a skillful storyteller who specializes in relating to her Mexican American heritage. Carmen Lomas Garza is an award-winning artist-educator, who was born in Kingsville, Texas in 1948. She attended Texas A & I University (renamed Texas A & M University, Kingsville), Juarez-Lincoln/Antioch Graduate School, and San Francisco State University. The artist is known for her use of papel picado in large ofrendas. She describes her life as an artist: “At the age of thirteen, I decided to become a visual artist and pursue every opportunity to advance my knowledge of art in institutions of higher education. The Chicano Movement of the late 1960s inspired the dedication of my creativity to the depiction of special and everyday events in the lives of Mexican Americans based on my memories and experiences in South Texas. I saw the need to create images that would elicit recognition and appreciation among Mexican Americans, both adults and children, while at the same time serve as a source of education for others not familiar with our culture. It has been my objective since 1969 to make paintings, prints, installations for Day of the Dead, and paper and metal cutouts that instill pride in our history and culture in American society.”artist/creator Garza, Carmen Lomassubject Borderlands Frontera Fighting Bars (Drinking establishments) Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Howl
title Howldescription Color lithograph on paper, 44.5 in. x 34 in. Luis Jiménez portrays a lone wolf howling at the full moon that rises above snow capped mountains. The wolf’s howl is transformed into the title of the work. Wolves, like this Mexican wolf, communicate with their pack by howling; this vocalization communicates their location and marks their territory; serves as a warning to rivals or signals a threat of intruders. Besides expressing affection through their howling, wolves express other emotions. Here, the “howl” vibrates above, resonating with rage, pain, and warning. Jiménez used the color red to emphasize these strong emotions. Note that the letter “l” in the word “howl” resembles the wolf’s raised right paw. The wolf is enraged as his species is endangered. Humans continue to hunt wolves for pelts and bounty. The wolf also painfully mourns the vanishing Western landscape and the diminishing presence of the Original Americans. The howl is a warning to humanity to protect and preserve the natural landscape and animal life. The Mexican wolf also symbolizes how Mexican immigrants have been hunted by the border patrol and vigilantes at border crossings. This work is a visual metaphor for the artist Jiménez, who for years before he gained critical recognition was perceived as an outsider: a “lone wolf.” Born in El Paso, he was an artist fiercely proud of his Mexican roots who celebrated the everyday culture of the Southwest. He howled especially for his people, Mexicans and Chicanos, and their ongoing struggle for social mobility and social justice in the borderland and beyond. Proud of his Chicano roots, Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and El Paso. He eventually traveled to Mexico to study the famous Mexican muralists Diego Rivera and José Clemente Orozco, and was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966 Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jimenez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Animals in art Wolves Environment Ecology Nature in art Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Reflejo del Chuco
title Reflejo del Chucodescription Color lithograph on paper, 27.5 in. x 34.5 in. A woman in a green dress next to an orange car with a man inside, and a shirtless man walks behind the car on the street. Proud of his Chicano roots, Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and El Paso. He eventually traveled to Mexico to study the famous Mexican muralists Diego Rivera and José Clemente Orozco, and was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966 Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jimenez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Cars Automobiles Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Rose Tattoo
title Rose Tattoodescription Color lithograph on paper, 27.5 in. x 35.25 in. Proud of his Chicano roots, Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and El Paso. He eventually traveled to Mexico to study the famous Mexican muralists Diego Rivera and José Clemente Orozco, and was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966 Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jimenez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Cars Automobiles Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
El Pantalón Rosa
title El Pantalón Rosadescription Color lithograph on paper, 43.5 in. x 30.75 in. A man standing in front of a colored wood background. César A. Martínez states, "Originally, I had done a linoleum and woodblock print of El Pantalón Rosa. When I decided to do a lithograph of the same subject, I utilized the original woodblock with the wood texture by transferring the texture to a metal lithographic plate. Same for the shirt, but from another original plate. Everything else, in the different colors was drawn on metal lithographic plates, and then it was printed from the metal lithographic plates on a lithographic press. The date is 1992 and the printer was Peter Webber of Austin, Texas." César A. Martínez was born in Laredo Texas, in 1944, and currently lives in San Antonio, Texas. He was raised by his mother and her family in Laredo, because his father died when he was less than one year old. While studying art at Texas A&I College, and later Texas A&I University (renamed Texas A & M University, Kingsville), he became marginally involved in the Chicano Movement for civil rights. Eventually, he became an historical figure in the Chicano art movement. His colorful portraits represent real people from his life, many of them based on photographs. According to Martínez, “I’ve never really done art that I would say is political. But I think the kind of art that becomes politicized, as in my case and in many of my contemporaries, is simply because it had a Chicano perspective or Chicano imagery. The Chicano Movement was a renaissance in thinking about us and in creating those institutions and images and writings that reflected who we are. They were non-existent at that time, we had nothing to relate to, so we had to make it up as we went along. And that was the road to a deeper understanding of who we are."artist/creator Martinez, César A.subject Portraits Borderlands Frontera Cholos Clothing and dress Fashion Style Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Texas Waltz
title Texas Waltzdescription Color lithograph on paper, 56 in. x 39 in. Luis Jiménez created a series of artworks featuring dancers in honkytonks, dance halls, and fiestas. In the work, a mature looking couple dance the Texas Waltz, a contemporary style of the traditional waltz. The waltz originated in Europe in the 1700s and was considered provocative as couples held each other closely as they danced. Here, a man waltzes with his partner, who embraces him tightly. The artist used energetic lines to denote action and a bold red color in the woman’s top to indicate passion. The artist in other works depicted traditional Mexican dance, as in The Fiesta Jarabe sculpture, of which there exists five versions. His Fiesta sculpture represents the Mexican jarabe folk dance, often called the Mexican hat dance. One of his Fiesta Jarabe sculptures can be found at the Otay Mesa Port of Entry near San Diego, California. The sculpture was purchased by the U.S. federal government and erected in 1991. Describing the sculpture at Otay Mesa, Jiménez said, “It is a project that I thought of as a kind of bridge. I grew up on the border. I saw [immigrant] families crossing. My father was [an undocumented immigrant] from the time he was nine until I was born, when he was twenty-five. I decided that’s what I would focus on, and I’ll title it Fiesta, and people on both sides of the border will be able to relate to it.”artist/creator Jiménez, Luissubject Borderlands Frontera Dance Movement Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Cholo Van with Popo and Izta
title Cholo Van with Popo and Iztadescription Color lithograph on paper, 52.5 in. x 39 in. In his print, Jiménez portrayed the Aztec legend of Popo and Izta in a “moving mural” decorating a van driven by a Chicano cholo. The lovers Popocatépetl and Iztaccíhuatl are symbolized in the twin volcanoes of Mexico. His imagery shows the synthesis of Mexican and Chicano cultural expression, contextualized within American popular culture. This work also represents the artist’s lifelong fascination with automobiles, which are a critical part of the U.S. economy, industry, and society. Proud of his Chicano roots, Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and El Paso. He eventually traveled to Mexico to study the famous Mexican muralists Diego Rivera and José Clemente Orozco, and was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966 Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jimenez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Cholos Vans Aztecs Legends Love in art Marriage Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Air, Earth, Fire, Water
title Air, Earth, Fire, Waterdescription Color lithograph on paper, 42 in. x 57.25 in. Well known Chicano artist Luis Jiménez interpreted the Aztec legend of the two lovers Iztaccíhuatl and Popocatépetl. The warrior Popocatépetl was sent to battle by his king, who wanted to discourage the romance between his daughter Princess Iztaccíhuatl and Popocatépetl. Although the king had promised Popo his daughter’s hand in marriage, he hoped that Popo would die in battle, so he lied to his daughter that her lover was dead. Izta died of a broken heart. When Popo returned to find her dead, he knelt down to hold her lifeless body. The gods took pity on the two lovers and covered them with snow. The story describes the origin of the volcanoes Popocatépetl (“the Smoking Mountain”) and Iztaccíhuatl (“White Woman” in Nahuatl, sometimes called the “Mujer Dormida’’ or “Sleeping Woman” in Spanish). Volcanoes are the home of the gods and considered sacred in Mexico. In the title of the print references the original elements in nature. These popular Aztec lovers decorate calendars, murals, T-shirts, and automobiles.artist/creator Jiménez, Luissubject Borderlands Frontera Aztecs Legends Volcanoes Love in art Elements Nature in art Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Blue Bato with Sunglasses
title Blue Bato with Sunglassesdescription Color lithograph on paper, 39.5 in. x 30.25 in. A portrait of a man in a blue plaid shirt and green sunglasses.artist/creator Martinez, César A.subject Portraits Borderlands Frontera Culture Plaid Cholos Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Tamalada
title Tamaladadescription Color lithograph on paper, 25.5” x 32.75” Chicana artist Carmen Lomas Garza was raised in Kingsville, Texas, which is located near the Mexico – United States border and the Gulf of Mexico. She created a series of works that recall her life growing up with her family in the small border town in South Texas. In a tamalada, families gather to make large batches of tamales during the Christmas season. The entire family, adults and children alike, organize an assembly line to produce tamales, which are filled with different carnes (meats) such as pork, beef, or chicken; sometimes beans or even fruit. Note the framed reproduction of the Last Supper on the wall. Garza uses these scenes of family life to educate mainstream America about the Mexican American traditions that are passed on from one generation to the next. This popular lithograph was acquired by the National Museum of Mexican Art in Chicago and the Smithsonian Museum of American Art in Washington, D.C.artist/creator Garza, Carmen Lomassubject Families Borderlands Frontera Food Food in art Culture Heritage Tamales Traditions Manners and customs Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
American Dream
title American Dreamdescription Color lithograph on paper, 34.5 in. x 24.5 in. A popular sculptor from El Paso, Luis Jiménez personifies the “American Dream” in the automobile, a symbol of material wealth and privilege in American society. The car is a product of the industrialized machine age, which provides a mode of transportation and is a status symbol. Here, a blond-haired woman lies in an embrace with a sports car, a luxury for most Americans. Jiménez references Greek mythology in the legend of Leda and the Swan, the wife of a king seduced by Zeus in the guise of a swan. Jiménez also interprets the story of the Olmec were-jaguar, born from the union of a jaguar and woman. Associated with the Pop Art movement in his early career, the artist produced a fiberglass sculpture of the same name in 1969 to speak to Americans and their intense obsession with their cars. Luis Jiménez was prominently featured in Dr. Jacinto Quirarte’s Mexican American Artists (1973), one of the first books on Mexican American and Chicano art.artist/creator Jiménez, Luissubject Sexuality in art Nudes in art Cars Automobiles Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Cruzando el Rio Bravo
title Cruzando el Rio Bravodescription Color lithograph on paper, 38.75 in. x 28.5 in. A famous artist of the Chicano art movement, El Paso artist Luis Jiménez combined Pop Art with Chicano social commentary to celebrate the downtrodden and marginalized, such as immigrants who cross the Rio Grande (or Rio Bravo) to pursue the American Dream. This border crossing is based on the artist’s grandfather carrying his wife and son across the Rio Grande from Mexico to El Paso. Despite the dangers of such crossings, immigrant families demonstrate heroic spirit in search of a better life. Jiménez later rendered this study into a series of painted fiberglass sculptures that pay homage to the countless immigrants who undertake the perilous trek to the U.S. Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and in El Paso. He eventually traveled to Mexico to study with the Mexican muralists Diego Rivera and José Clemente Orozco, and he was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966, Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jiménez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Rio Grande Immigration Immigrants Color Lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Horse (Caballo)
title Horse (Caballo)description Color lithograph on paper, 11 in. x 12.75 in. Proud of his Chicano roots, Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and El Paso. He eventually traveled to Mexico to study with the famous Mexican muralists Diego Rivera and José Clemente Orozco, and he was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966 Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jimenez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Horses Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM)