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Showing 428 results for Poligrafa Obra Gráfica

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Camí de fletxes entre línies paral.leles (Way of arrows between parallel lines), James Siena American, Etching — Camí de fletxes entre línies paral.leles (Way of arrows between parallel lines)
James Siena
Poligrafa Obra Gráfica
2011

Fletxes Rodones, James Siena American, Etching — Fletxes Rodones
James Siena
Poligrafa Obra Gráfica
2011

Fletxes Ortogonals Decreixents, James Siena American, Etching — Fletxes Ortogonals Decreixents
James Siena
Poligrafa Obra Gráfica
2011

La Por (Fear), James Siena American, Etching — La Por (Fear)
James Siena
Poligrafa Obra Gráfica
2011

Membre (Member), James Siena American, Etching — Membre (Member)
James Siena
Poligrafa Obra Gráfica
2011

Cova (Cave), James Siena American, Etching — Cova (Cave)
James Siena
Poligrafa Obra Gráfica
2011

Línies Sortint de L'Obscuritat (Lines Out of the Darknesss), James Siena American, Etching — Línies Sortint de L'Obscuritat (Lines Out of the Darknesss)
James Siena
Poligrafa Obra Gráfica
2011

Línies Pesades i Infectades (Heavy, Infected Lines), James Siena American, Etching — Línies Pesades i Infectades (Heavy, Infected Lines)
James Siena
Poligrafa Obra Gráfica
2011

Poster celebrating the victory over the Nazis at the end of World War II, Ángel Bracho Mexican, Lithograph in black and red, letterpress, backed with linen — Poster celebrating the victory over the Nazis at the end of World War II
Ángel Bracho
Taller de Gráfica Popular, Mexico City
1945

Estampas de la revolución Mexicana (prints of the Mexican Revolution)

Taller de Gráfica Popular, Mexico City

1947

Portfolio of twenty prints published to celebrate the centenary of the birth of Emiliano Zapata

Multiple artists/makers

1979

'Calacas' published by the Taller de Gráfica de Popular

Multiple artists/makers

1980

Rats marked with the Nazi Swastika devouring books, the padlocked 'Escuela Normal' at the right, Alfredo Zalce Mexican, Linocut — Rats marked with the Nazi Swastika devouring books, the padlocked 'Escuela Normal' at the right
Alfredo Zalce
Taller de Gráfica Popular, Mexico City
1943

Manifesto of the town of Soconusco, Ángel Bracho Mexican, Linocut, letterpress on green paper, backed with linen — Manifesto of the town of Soconusco
Ángel Bracho
Taller de Gráfica Popular, Mexico City
1938

Plate 3: an indentured slave (peon acasillado) cutting maize, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Arturo García Bustos Mexican, Linocut — Plate 3: an indentured slave (peon acasillado) cutting maize, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Arturo García Bustos
Taller de Gráfica Popular, Mexico City
1947

Plate 4: disgruntled campesinos being exectued by firing squad, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Arturo García Bustos Mexican, Linocut — Plate 4: disgruntled campesinos being exectued by firing squad, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Arturo García Bustos
Taller de Gráfica Popular, Mexico City
1947

Plate 7: Mexican chaingang being forced to break rocks in a quarry in the Valle Nacional in Oaxaca, guarded by a rifle-bearing foreman, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Alfredo Zalce Mexican, Linocut — Plate 7: Mexican chaingang being forced to break rocks in a quarry in the Valle Nacional in Oaxaca, guarded by a rifle-bearing foreman, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Alfredo Zalce
Taller de Gráfica Popular, Mexico City
1946

Plate 8: The young Emiliano Zapata watching a scene in which workers in a field carry heavy loads, while others are being whipped, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Mariana Yampolsky American, Linocut — Plate 8: The young Emiliano Zapata watching a scene in which workers in a field carry heavy loads, while others are being whipped, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Mariana Yampolsky
Taller de Gráfica Popular, Mexico City
1947

Plate 12: many guns with bayonets, allegory relating to the tyranny and despotism of the regime of President Porforio Diaz and their oppression of indigenous Mexicans, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Everardo Ramírez Mexican, Linocut — Plate 12: many guns with bayonets, allegory relating to the tyranny and despotism of the regime of President Porforio Diaz and their oppression of indigenous Mexicans, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Everardo Ramírez
Taller de Gráfica Popular, Mexico City
1947

Plate 11: striking workers in June 1906 protesting for equal rights from their American employees, the mining company Green Consolidated, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Pablo Esteban O'Higgins American, Linocut — Plate 11: striking workers in June 1906 protesting for equal rights from their American employees, the mining company Green Consolidated, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Pablo Esteban O'Higgins
Taller de Gráfica Popular, Mexico City
1947

Plate 15: President Porfirio Díaz being interviewed by James Creelman from 'Pearson's Magazine' on the subject of civil liberties in 1908, outside on the street people protest, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Alberto Beltrán Mexican, Linocut — Plate 15: President Porfirio Díaz being interviewed by James Creelman from 'Pearson's Magazine' on the subject of civil liberties in 1908, outside on the street people protest, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Alberto Beltrán
Taller de Gráfica Popular, Mexico City
1947

Plate 20: Francisco I Madero in prison drawing up his 'Plan of San Luis de Potosí', from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Isidoro Ocampo, Mexican Mexican, Linocut — Plate 20: Francisco I Madero in prison drawing up his 'Plan of San Luis de Potosí', from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Isidoro Ocampo, Mexican
Taller de Gráfica Popular, Mexico City
1947

Plate 22: Aquiles Serdán and his family in Puebla on 18 November 1910, firing the first shots and beginning the revolution, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Fernando Castro Pacheco Mexican, Linocut — Plate 22: Aquiles Serdán and his family in Puebla on 18 November 1910, firing the first shots and beginning the revolution, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Fernando Castro Pacheco
Taller de Gráfica Popular, Mexico City
1947

Plate 23: the strategists plotting to combat the revolution, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Alfredo Zalce Mexican, Linocut — Plate 23: the strategists plotting to combat the revolution, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Alfredo Zalce
Taller de Gráfica Popular, Mexico City
1947

Plate 44: soldiers from the regime of Victoriano Huerta herding those who supported Emiliano Zapata and burning their homes, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Alberto Beltrán Mexican, Linocut — Plate 44: soldiers from the regime of Victoriano Huerta herding those who supported Emiliano Zapata and burning their homes, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Alberto Beltrán
Taller de Gráfica Popular, Mexico City
1947

Plate 45: the begining of the American intervention on 21 April 1914, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Fernando Castro Pacheco Mexican, Linocut — Plate 45: the begining of the American intervention on 21 April 1914, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Fernando Castro Pacheco
Taller de Gráfica Popular, Mexico City
1947

Plate 46: Venustiano Carranza protesting against the American invasion of 1914, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Francisco Mora Mexican, Linocut — Plate 46: Venustiano Carranza protesting against the American invasion of 1914, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Francisco Mora
Taller de Gráfica Popular, Mexico City
1947

Plate 47: the Constitutionalists taking Zacateca, 23 June 1914, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Pablo Esteban O'Higgins American, Linocut — Plate 47: the Constitutionalists taking Zacateca, 23 June 1914, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Pablo Esteban O'Higgins
Taller de Gráfica Popular, Mexico City
1947

Plate 48: General Alvaro Obregon leader of the Constitutionalists on horse with the Yaqui indians, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Pablo Esteban O'Higgins American, Linocut — Plate 48: General Alvaro Obregon leader of the Constitutionalists on horse with the Yaqui indians, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Pablo Esteban O'Higgins
Taller de Gráfica Popular, Mexico City
1947

Plate 49: Revolutionaries gathered and singing songs peritinent to their cause, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Mariana Yampolsky American, Linocut — Plate 49: Revolutionaries gathered and singing songs peritinent to their cause, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Mariana Yampolsky
Taller de Gráfica Popular, Mexico City
1947

Plate 53: the Convention of Aguascalientes on 10 October 1914, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Alberto Beltrán Mexican, Linocut — Plate 53: the Convention of Aguascalientes on 10 October 1914, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Alberto Beltrán
Taller de Gráfica Popular, Mexico City
1947

Plate 54: the starving people in Mexico City, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Leopoldo Méndez Mexican, Linocut — Plate 54: the starving people in Mexico City, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Leopoldo Méndez
Taller de Gráfica Popular, Mexico City
1947

Plate 55: a worker of the Revolution, standing, holding a rifle, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Jesús Escobedo Mexican, Linocut — Plate 55: a worker of the Revolution, standing, holding a rifle, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Jesús Escobedo
Taller de Gráfica Popular, Mexico City
1947

Plate 56: Venustiano Carranza holding a copy of the 1917 constitution, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Alfredo Zalce Mexican, Linocut — Plate 56: Venustiano Carranza holding a copy of the 1917 constitution, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Alfredo Zalce
Taller de Gráfica Popular, Mexico City
1945

Plate 57: the death of Emiliano Zapata on 10 April 1919, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Isidoro Ocampo, Mexican Mexican, Linocut — Plate 57: the death of Emiliano Zapata on 10 April 1919, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Isidoro Ocampo, Mexican
Taller de Gráfica Popular, Mexico City
1947

Plate 58: figures gathering the dead, an allegory of the sovereignty of the village, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution), Ignacio Aguirre Mexican, Linocut — Plate 58: figures gathering the dead, an allegory of the sovereignty of the village, from the portfolio 'Estampas de la revolución Mexicana' (prints of the Mexican Revolution)
Ignacio Aguirre
Taller de Gráfica Popular, Mexico City
1947

Flyer relating to profiteers who exploit rural farm workers and take advantage of the government, Raúl Anguiano Mexican, Photo-relief and letterpress on tan paper — Flyer relating to profiteers who exploit rural farm workers and take advantage of the government
Raúl Anguiano
Taller de Gráfica Popular, Mexico City
1942

Flyer with text by Lázaro Cárdenas relating to oil companies that want to profit from Mexico's natural resources (oil) and human labor while not being mindful of the new age of social justice; two men throwing rocks at a vulture hovering over a nest, Leopoldo Méndez Mexican, Photo-relief and letterpress on orange paper — Flyer with text by Lázaro Cárdenas relating to oil companies that want to profit from Mexico's natural resources (oil) and human labor while not being mindful of the new age of social justice; two men throwing rocks at a vulture hovering over a nest
Leopoldo Méndez
Taller de Gráfica Popular, Mexico City
1940

Flyer relating to farmers from Jalisco who attempted to improve their communities only to be exploited by profiteers and losing their graneries to them, José Chávez Morado Mexican, Photo-relief and letterpress on tan paper — Flyer relating to farmers from Jalisco who attempted to improve their communities only to be exploited by profiteers and losing their graneries to them
José Chávez Morado
Taller de Gráfica Popular, Mexico City
ca. 1940

Flyer warning farmers from Zacatecas and Durango not to sell their crops under market value to profiteers, an image of a profiteer running away from a woman, Pablo Esteban O'Higgins American, Photo-relief and letterpress on pale pink paper — Flyer warning farmers from Zacatecas and Durango not to sell their crops under market value to profiteers, an image of a profiteer running away from a woman
Pablo Esteban O'Higgins
Taller de Gráfica Popular, Mexico City
ca 1936–1945