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The Power and Politics of Art in Postrevolutionary Mexico$
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Stephanie J. Smith

Print publication date: 2018

Print ISBN-13: 9781469635682

Published to North Carolina Scholarship Online: May 2018

DOI: 10.5149/northcarolina/9781469635682.001.0001

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Revolutionary Printmakers

Revolutionary Printmakers

LEAR and the TGP, 1934–1957

(p.149) Chapter Five Revolutionary Printmakers
The Power and Politics of Art in Postrevolutionary Mexico

Stephanie J. Smith

University of North Carolina Press

The significance of chapter 5 is threefold: (1) to analyze the interactions of Mexico’s printmakers, including those belonging to Liga de Escritores y Artistas Revolucionarios, or the League of Revolutionary Writers and Artists (LEAR), and the Taller de Gráfica Popular, or the Popular Graphic Art Workshop (TGP), with state officials; (2) to situate Mexico as a vital space within the international struggle against the spread of fascism; and (3) to understand better the transnational influence on culture and politics during Mexico’s postrevolutionary period. Artists associated with Mexico’s Communist Party played key roles in the formation and everyday affairs of the LEAR and TGP, and the alliances between the PCM and the two artists’ groups remained strong. Although tensions eventually developed between individual TGP printmakers and the PCM, the distinctive union of politics and art resulted in the creation of two of Mexico’s most significant creative movements of the twentieth century.

Keywords:   Liga de Escritores y Artistas Revolucionarios (League of Revolutionary Writers and Artists), Taller de Gráfica Popular (Popular Graphic Art Workshop), Pablo O’Higgins, Leopoldo Méndez, Angelina Beloff, Popular Front, Lucha Intelectual Proletaria (Intellectual Proletarian Struggle) Frente a Frente, Marion y Grace Greenwood, Hannes Meyer

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