SKU: 47175170374

Theo - El cuervo

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Description

Theo - El cuervoThis is a large lithograph by the well regarded Mexican artist, Theo, (Hugo Telesforo Martinez Ramirez). It is about 18 x 28" (45 x 70cm), was done in 1984, is signed and numbered 2 10, and is in good condition. MLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire

This is a large lithograph by the well regarded Mexican  artist, Theo, (Hugo Telesforo Martinez Ramirez). It is about 18 x 28" (45 x 70cm), was done in 1984, is signed and numbered 2/10, and is in good condition.

 

MLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.

 

 

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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SKU: 47175170374

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4.4 ★★★★★
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Verified Purchase
M1so
Draper, US
★★★★★ 5
Solid basic good denim jacket
Fit Type: Regular, Size: X-Large, Color: Authentic Medium Wash
In direct comparison to Levi’s women’s trucker denim jacket, this one is: slightly heavier denim, less stretchy, less fitted. I kept this one and returned the Levi’s because I wanted the roomier fit. I wish it was a little longer in the body: I’m tall, and it isn’t too short but I’d like a little more length. It feels slightly longer than the Levi’s. I wish the sleeves were longer too. They are probably just right for an average height or shorter person. The armholes could be smaller. The medium wash is a nice medium blue, fairly even in tone. It doesn’t have a lot of stretch but it’s comfortable. The denim is substantial but not too stiff. Overall, it’s a standard good quality denim jacket without any peculiar style elements or weird cut. It’s good!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 3, 2026
M
Verified Purchase
Maryland Marcy
Waukegan, US
★★★★★ 3
Fabric way to heavy.
Fit Type: Regular, Size: Medium, Color: White
Cute, but material is WAY to heavy, like the heaviest duty denim I've ever seen. Wanted this to be a cute coverup. If you're needing something while breaking broncos or riding your motorcycle would probably be great. I kept it for a while because it was good quality and well made, but it ended up in the donation pile as I'd never wear this.
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Reviewed in the United States on June 10, 2026
C
Verified Purchase
Clare Lukes
Omaha, US
★★★★★ 5
Awesome jacket
Fit Type: Regular, Size: Medium, Color: Stone Dark Wash
Love it so not too long or too short but just right and the color is out of sight and fits awesome
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Reviewed in the United States on June 12, 2026
M
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M
Houston, US
★★★★★ 5
Old school denim — not stretchy
Fit Type: Regular, Size: X-Small, Color: Authentic Medium Wash
Fabric used is old school denim — not the thin, stretchy stuff that pretty much everything called “denim” is today. It is 99% cotton (20% of which is recycled cotton) and 1% elastane, but I can’t feel any stretch in the fabric. It is a substantial, non-stretchy denim that gives the jacket really good structure. It has a higher end fit and look than the price would suggest. I wanted a more fitted denim jacket so ordered an XS even though according to the size chart I need a small. (I have a 34.5” bust, 28” waist at 118 pounds 5’4”.) It still buttons over a t shirt or lightweight sweater with freedom for movement/without being tight, but if I wanted a roomy fit or the ability to wear a heavier sweater or sweatshirt underneath and still be able to comfortably button it I would have needed a small. The shoulders are cut broad — I have very broad shoulders and the XS surprisingly fits my shoulders well. This jacket may not be the greatest fit for you if you have very narrow shoulders, unless you are going for an oversized look.
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Reviewed in the United States on May 17, 2026
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Verified Purchase
Carrie
Boise, US
★★★★★ 5
made well
Fit Type: Regular, Size: Large, Color: Iced Light Wash
I couldn't get this in my size (medium) so I ordered large. it's a little large in the shoulders, but it still looks good. it is a well made, substantial jacket. I love it!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 12, 2026

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