List of illustrations

  • Diego Rivera: Biografía sumaria, taken from Amauta, no. 4 (December 1926)
  • Diego Rivera: el artista de una clase, taken from Amauta, no. 5 (January 1927)
  • Superman, comic strip
  • The Golden Man (Liberation)
  • Cold War Cartography: The Reagan–Bush Map of the Western Soviet Empire (Originally published in The Nation)
  • El arte de américa latina es la revolución, The Allende Years in Chile (1970–1973)
  • Rebellion," from Iconologia by Cesare Ripa (1593), Hertel edition, Augsburg
  • Fortune," from Iconologia by Cesare Ripa (1593), Hertel edition, Augsburg
  • Paisaje Zapatista: el guerrillero (Zapatista landscape: the guerilla)
  • Imperialism, fresco panel (now lost) for the Communist Party Opposition, New Worker's School, New York City
  • Fragment of the Equestrian Statue of Somoza
  • Portrait of José Guadalupe Rodriguez," taken from Amauta, no. 24 (June 1929)
  • Leviathan
  • Le Corps Politique
  • Carrillo Puerto: símbolo de la revolución del sureste, Estampas de la Revolución Mexicana, pl. 59
  • Reagan and the World
  • Che
  • Mexico Today and Tomorrow
  • Las tropas constitutionalista hacen el primer reparto de la tierra en Matamoros, 6 de Agosto de 1913 (The constitutionalist troops making the first redistribution of land, in Matamoros on August 6, 1913)
  • Lázaro Cárdenas y la reforma agraria, 1934–1940, Estampas de la Revolución Mexicana, pl. 67
  • El Presidente Cárdenas recibe el apoyo del pueblo mexicano para sus medidas in favor del progreso del país (Cárdenas receives support for his measures in favor of the country's social progress), Estampas de la Revolución Mexicana, pl. 72
  • Contribución del pueblo a la expropiación de la industra petrolera, 18 de Marzo 1938 (The Contribution of the people to the nationalization of the oil industry on March 18, 1938), Estampas de la Revolución Mexicana, pl. 74
  • Moisés Sáenz
  • Presidente Álvaro Obregón y Ministro Negroponte
  • El General Obregón con los yaquis, Estampas de la Revolución Mexicana, pl. 48
  • Cover of El Maestro, vol. 2, no. 1
  • Academia Nacional de San Carlos
  • Biblioteca de la Universidad Nacional Autónoma de México (Library of the National Autonomous University of Mexico)
  • Altar de Dolores (Our Lady of Sorrows)
  • El abrazo (The embrace) and Campesinos
  • Codex Mendoza, facsimile
  • La maestra rural
  • Distribución de armas
  • Sacred Heart, ex-voto painting
  • Bandolier, Maize, Guitar
  • Las dos Fridas (The two Fridas)
  • El día de los muertos: La oferta (The day of the dead: the offering)
  • Cruz atrial
  • Guatemalan Cross
  • La trinchera
  • Cortés y Malinche
  • Palacio de Bellas Artes
  • Padre Hidalgo
  • Catharsis
  • The Liberated Earth and Natural Forces Controlled by Humanity, Chapingo Chapel ("The Sistine Chapel of the Twentieth Century")
  • Mexico from the Conquest to 1930
  • Masthead of "El machete
  • Edificio Estridentista
  • The Bricklayers, Valley of Mexico, from Mexican People
  • La bandera
  • Zapata
  • Autoretrato (Self-Portrait)
  • Deportación a la Muerte (Deportation to the concentration camps), from El libro negro del terror nazi
  • Retrato de Antonio Gramsci (Portrait of Gramsci), from El libro negro del terror nazi
  • La Juventud de Emiliano Zapata: Lección objectivo (The youth of Zapata: An objective lesson), Estampas de la Revolución Mexicana, pl. 8
  • La tierra (The land), from Vida en mi barriada
  • Prometheus: Zapata and Sandino, detail of Zapata
  • La Catedral amarilla (The yellow cathedral)
  • Siempre Che
  • Lucía, poster for ICAIC to promote the film Lucía by Humberto Solas
  • Hasta Cierto Punto (Up to a certain point), poster for ICAIC to promote the film Hasta Cierto Punto by Tomás Gutiérrez Alea
  • Images of Three Ballets, poster for the Cuban National Ballet
  • Contraceptive
  • Que Bueno Canta Usted (How well you sing), poster for ICAIC to promote the documentary film Que Bueno Canta Usted by Sergio Giral
  • Revolución en cine, cine en la revolución (The revolution in cinema, the cinema in the revolution)
  • Por América: José Marti
  • Malecón (Seawall walk)
  • Caballero, No Ven? El Era de Carne y Hueso (Hey mister, what's up, he was only of flesh and blood?), from the Mesa Sueca (Smorgasbord) series
  • Premio Casa de las Américas
  • Roberto Fernández Retamar, poster for the Ministry of Culture to promote a book by Retamar, Para el perfil definitivo del hombre: libro de ensayos (Towards a definitive profile of man, a collection of essays)
  • Ernest Hemingway and Fidel Castro, June 11, 1961
  • Memorias del subdesarrollo (Memories of underdevelopment), poster for ICAIC film Memorias del subdesarrollo by Tomás Gutiérrez Alea
  • La Muerte de un burócrata (The death of a bureaucrat), poster for ICAIC to promote Tomás Gutiérrez Alea's La Muerte de un burócrata
  • Retrato de Teresa (Portrait of Theresa), poster for ICAIC to promote the film Retrato de Teresa by Pastor Vega
  • Jornada de solidariadad con Zimbabwe (Day of solidarity with Zimbabwe), poster for OSPAAAL
  • Soy Cuba (I am Cuba), poster for the ICAIC to promote the film Soy Cuba by Mikhail Kalatozov
  • Sin titulo (Untitled)
  • Still Life
  • Sin titulo (Untitled)
  • Vitrales (stained glass overdoors)
  • 5th Festival Internacional del Nuevo Cine Latinoamericano (5th international festival of the new Latin American cinema)
  • Canción protesta (protest song), poster for Casa de las Américas to promote a music festival devoted to Nueva Canción
  • Che
  • Che
  • Marilyn x 100
  • La Isla (The island)
  • Cine Movil (Mobile cinema)
  • All You Need Is Love
  • The Annunciation
  • Che
  • Gitana tropical (Tropical gypsy)
  • Primer Día de Enero (First of January 1959)
  • Che, from En el Mar de América (On the sea of America)
  • Lichtenstein and the Greeks
  • Don't Kill Animals or Watch Them Be Killed, from the To Conceive series
  • Autoreconocimiento (Self-recognition)
  • The Structure of Myths
  • Las ideas llegan más lejos que la luz (Ideas go further than the light)
  • Homenaje a la Mujer (Homage to women brigadistas)
  • Somersaulting Literacy Crusade Brigadista, detail of Homenaje a la Mujer (Homage to women brigadistas)
  • Costruyendo la Patria nueva, forjamos la mujer nueva (In constructing the new nation, we construct the new woman)
  • La Mujer Nueva (The new woman)
  • Rubén Darío and his Poem "To Roosevelt," poster for FSLN
  • Major Writers in Nicaraguan History
  • Escuela Nacional de Artes Plásticas, Xavier Kantón Gallery
  • The Lenin Train
  • Book cover for Gabriel García Márquez, Viva Sandino (published by Editorial Nueva Nicaragua, Managua, 1980)
  • Ernesto Cardenal reading poetry
  • Pesadilla (Nightmare)
  • Cristo guerrillero (Christ as a guerrilla)
  • Lake Nicaragua
  • Pintura primitivista de Solentiname, cover of Poesía Campesina de Solentiname, Ministry of Culture (Managua, 1980)
  • Casa de Campesinos
  • Cover of Praxis, August, 1971, Managua
  • Cabeza de pájaro (Head of a bird)
  • Mercado pre-colombino (Pre-Columbian market)
  • The Architect
  • Sandino
  • Paisaje de verano en Subtiava (Summer landscape in Subtiava)
  • Amanecer (Dawn) no. 6
  • The Volcano
  • Mujer sentada (Seated woman)
  • La mujer nueva y la costrucción de Nicaragua Nueva (The new woman and the construction of the new Nicaragua)
  • La mujer nueva y la construcción de Nicaragua Nueva (The new woman and the construction of the new Nicaragua), detail
  • Mujer Revolución (Women and revolution), Poster for AMNLAE
  • Book cover for Gioconda Belli, La mujer habitada (Managua, 1989), published by Editorial Vanguardia
  • No Pasarán
  • Sandino y Fonseca ya están alfabetizando, y vos? (Sandino and Fonseca are spreading literacy. Are you?), poster for the CST (Sandista Central of Workers)
  • Literacy Crusade Emblem, poster for the Ministry of Education
  • Generative photo" of ceramic production, from El Amanecer del Pueblo, Ministry of Education (Managua, 1980)
  • Generative photo" of a popular demonstration from El Amanecer del Pueblo, Ministry of Education (Managua, 1980)
  • Copies of Poesía Libre, the journal of the Taller de Poesía, Ministry of Culture
  • Network of the Centros Populares de Cultura (and the artforms featured at each one), poster for the Ministry of Culture
  • Diagram of the Network of Programs under the Ministry of Culture (1979–1988)
  • Cover of La Chachalaca, a journal published by the Ministry of Culture about the activities in the Centros Populares de Cultura
  • Cover of El Artesano (The Artisan), no. 4, a publication of the Ministry of Culture, showing a drawing of masks for the play entitled Güegüense or Macho Ratón, which during the Sandista years was often staged by public dance troups
  • Amore (Love)
  • Dos Cisnes (Two swans), made in the Centro Popular de Cultura, San Juan de Limay (near Estelí), exhibited at Casa de las Artes del Pueblo, Managua
  • Polychrome ceramics produced in San Juan de Oriente, near Masaya, on exhibition in the Casa de las Artes del Pueblo, Managua, 1982
  • La Casa de las Artes del Pueblo, Managua (near the Plaza de España)
  • Polychrome ceramic pieces from the Centro Popular de Cultura, San Juan de Oriente
  • Paisaje Primitivista (Primitivist landscape)
  • Clear Water, Bluefields
  • El pueblo de Boaco (y la Plaza Mayor), "pintura primitivista" from Boaco, Nicaragua
  • La cosecha de café (con el Ministro de Cultura, Ernesto Cardenal) (Coffee harvest with Ernesto Cardenal, Minister of Culture)
  • Man with a Hoe
  • Cristo alfabetizador (Christ as martyred literary crusade brigadista)
  • The Epic of American Civilization, panel 18 of The Modern Migration of the Spirit
  • El algodonal (The cotton harvest), Soletiname school
  • La montaña magica (The magic mountain)
  • Leoncio Sáenz and Raúl Quintanilla, Managua, January 1990
  • Unidad revolucionaria Indoamericana (The revolutionary unity of Indo-Americans)
  • Paisaje (Landscape)
  • Fruta perforando madera (Fruit perforating wood)
  • Triptych
  • After Pollock
  • Two Tahitian Women with Mango Blossoms
  • La Vendedora (The street vendor)
  • Rambo: Final Chapter
  • El Sueño de razón (The sleep of reason)
  • Identi-dada
  • Adiós a Sandino, poster for an exhibition entitled "Sandido Vive…Nicaragua va a sobrevivir" (Sandido lives…Nicaragua will survive)
  • 1981 Año de la defensa y la producción (1981 The year of defense and production)
  • Sandino
  • Retrato de un Hombre (Portrait of a Man)
  • Vestidos (Clothes)
  • Retrato de una Mujer (Portrait of a Woman)
  • Máscaras (Masks)
  • Front entrance to the Escuela Nacional de Arte Público Monumental (National school of monumental public art, or the national school for mural painting)
  • Practice Mural (After Siqueiros)
  • Main view of the Escuela Nacional de Arte Público Monumental
  • Velásquez Park and Murals from a distance
  • La Reunión (The Meeting or Reunion)
  • San Francisco: los pobres reconstruyen la iglesia de Díos (St. Francis: the poor reconstructing the Church of God)
  • Santa María de los Angeles
  • Comunicación en el Presente y el Pasado
  • The Telecommunications Building (Telcor) with the Canales Mural from a distance
  • Una mujer campesina (A peasant woman)
  • El Sueño supremo de Bolívar (The supreme dream of Bolivar)
  • Prometheus: Zapata and Sandino, detail of Zapata
  • Mural
  • A Carlos (Portrait of Carlos Fonseca)
  • Por la Paz (In order to have peace)
  • El año de la defensa y la producción (In the year of defense and production everyone is a voluntary worker)
  • Tercero Anniversario de la Revolución-Masaya
  • La causa de Lenin vive (The cause of Lenin lives), poster for the CSN, a labor union
  • The Founders of the FSLN and Revolutionary Martyrs
  • Revolutionary Martyrs: Carlos Fonseca, Rigoberto López Pérez, Augusto Sandino
  • Public Monument to Popular Militia and National Sovereignty
  • Poster for the Collection of Latin American Artworks that became the Museo de Arte Contemporaneo "Julio Cortázar
  • Museo de Arte Contemporaneo "Julio Cortázar
  • The Destruction of Canales's 1980 mural Homenaje a la mujer (Homage to Women) in Velásquez Park
  • Mujer Sandista y Niño (Sandista woman and child)
Description: Art and Revolution in Latin America, 1910–1990
Three historic revolutions in twentieth-century Latin America stand out because they not only shook the entire world, but also sent out long-term shock waves that stir us still...

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Description: Art and Revolution in Latin America, 1910–1990
Many years ago, the novelist Carlos Fuentes was traveling through the countryside of Morelos, the home province of revolutionary leader Emiliano Zapata. Fuentes and his companions became lost in this mountainous region with its maze of rice paddies and plots of sugar cane. When the party of travelers came to...

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Description: Art and Revolution in Latin America, 1910–1990
In the early 1960s, a delegation of high-ranking officials from the Soviet Union and Eastern Europe visited Cuba. While touring the Presidential Palace with revolutionary leader Fidel Castro, this group encountered a semiabstract mural by René Portocarrero, who was one of Cuba’s leading artists until his death in 1985...

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Description: Art and Revolution in Latin America, 1910–1990
No other country in the world during the 1980s was more often at the center of international debate than was Nicaragua. To take a stand one way or another on the novel experiments in this revolutionary society was a defining issue all around the world for an entire era. Few nations of Nicaragua’s modest size, with a population of only three million, ever...

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Description: Art and Revolution in Latin America, 1910–1990
This 1929 document was originally published in Bertram D. Wolfe, Diego Rivera, su vida, su obra, su época (Santiago de Chile, 1944), and then in Raquel Tibol, Arte y política (Mexico City, 1978), pp. 87–94. Translation by Colleen Kattau.
Author

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Description: Art and Revolution in Latin America, 1910–1990
Gerardo Mosquera and David Craven (Translator) and Colleen Kattau (Translator)
This essay was originally published in El Caimán Barbudo, Havana, vol. 19, no. 212, July 1985, pp. 11–12 and in another version in Concha, Montevideo, vol. 2, no. 545, 31 December 1983, p. 23. Translation by David Craven and Colleen Kattau.
Author
Gerardo Mosquera and David Craven (Translator) and Colleen Kattau (Translator)

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Description: Art and Revolution in Latin America, 1910–1990
This address of February 25, 1980 was given at the First Assembly of Cultural Workers in the Palace of the Heroes of the Revolution, Managua, Nicaragua. The essay was subsequently published by the Ministry of Culture in an anthology entitled Hacia una política cultural (1980) that consisted of the first public statements by the Sandinista...
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Description: Art and Revolution in Latin America, 1910–1990
This interview with the Minister of Culture by David Craven and John Ryder took place at the Nicaraguan Mission to the United Nations in New York City on November 30, 1983. Father Cardenal was in the United States to speak at an opening for an art exhibition...

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Description: Art and Revolution in Latin America, 1910–1990
This interview by David Craven and Colleen Kattau took place on January 9, 1990, at the home of Gioconda Belli, which is located outside Managua, on a hill overlooking the southern shore of Lake Managua. Also present was Gioconda Belli’s sister Lavinia Belli, known to the present author for a few years through CUSLAR, the Committee on...

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Description: Art and Revolution in Latin America, 1910–1990
This interview with Julie Aguirre, Patricia Belli, Rubén Parrales, Raúl Quintanilla, and Juan Rivas by David Craven took place on January 10, 1990 at the Museo Julio Cortázar de Arte Moderno de América Latina. These are excerpts from an...

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Art and Revolution in Latin America, 1910–1990
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