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康考迪亚大学艺术学院介绍
艺术学院（Faculty of Fine Arts）覆盖的领域包括艺术教育，艺术历史，片场艺术，视觉艺术，当代舞，创造性艺术疗法，电声学，计算机艺术设计，剧场设计，电影制作，音乐制作，绘画，摄影，戏剧，印刷，雕塑，制陶等。
其中多个专业在全加拿大也是名列前茅。
协和大学拥有国家级的音乐大厅和其它先进的教学设施，为艺术学院的学生提供了优越的学习环境。
该学院掌握着最前沿的多媒体和数字技术，在计算机艺术设计方面颇具实力。
下属的梅尔?霍普海姆电影学院是加拿大最大的高校电影研究中心，这的学生有条件亲身体验好莱坞大师的电影制作流程。
康考迪亚大学艺术学院入学条件
高中毕业证书，不过不要求提供高考成绩
高中三年的平均成绩
需要达到专业的最低录取要求，并提交相应的作品集或面试
康考迪亚大学课堂优势
康考迪亚大学在校生超过46000名，但不同于一般搞大规模大学，康考迪亚的75%以上的课堂人数都少于60，能保证教学质量，学能也能得到更多关注。
每年都有超过1200名学生通过协作教育/带薪实习 (Co-op)项目进入诸如加拿大航空、庞巴迪、蒙特利尔银行、育碧和百事等国际性企业工作。
相关推荐：
加拿大康考迪亚大学
康考迪亚大学学费
康考迪亚大学金融硕士。
历年艺术硕士英语必考专业词汇
中国教育在线讯距离年艺术硕士()考试还有天时间。
小编认为，在最后的冲刺阶段，做题对考生快速提高分数的帮助不大。
中国教育在线建议考生合理支配最后的时间将以下广播电视、戏剧、音乐、电影、媒介、舞蹈等艺术硕士历年必考专业词汇牢牢记住，才能起到事半功倍的效果。
广播电视英语词汇
, 播送，播放，广播
直接广播，直播
重播
, 录音后广播
, 电台
天线
室内天线
广播网，电视广播网
波长
长波
中波
短波
千周
回响室
录音棚
录音
, 录音师
磁带录音机
传声筒，话筒
耳机
喇叭
轨,声道
录音磁头
放音磁头
抹音磁头
唱机转盘
音调控制
, 调谐钮
调频
, 高保真
干扰
电子管(美作：)
广播站
, 无线电技术 , , , 收音机
无线电工程师
无线电广播
无线电广播发射机。
新艺术运动时期的设计新艺术运动（Art Nouveau），也被称为“分离派”或“精细艺术运动”，是19世纪末20世纪初发展起来的一股重要的设计风格和艺术运动。
这一运动起源于欧洲，主要流行于法国、比利时、英国和德国等国家。
新艺术运动的设计师致力于通过融合艺术和工艺品，创造出一种既美观又实用的设计风格。
以下将从艺术、建筑和家具设计三个方面来探讨新艺术运动时期的设计风格。
在艺术方面，新艺术运动的设计师试图摒弃传统的艺术观念，追求创新和个性化的艺术表达。
他们倡导自然主义和流线型的形式，追求曲线、曲面和流动的线条，强调动态和生命力。
新艺术运动的艺术作品通常具有一种优雅的姿态，它们展示了对自然界和生态平衡的热爱与尊重。
同时，新艺术运动也对东方艺术和装饰风格产生了很大的影响，许多设计师从东方艺术中汲取了灵感，并将其融入到自己的设计中。
在建筑方面，新艺术运动的设计师试图创造出一种独特且富有个性的建筑风格。
他们摒弃了传统的装饰风格，采用了大胆和复杂的几何形式。
建筑物的外观常常有着曲线和流线型的造型，并且常常使用了砖雕、铁艺和玻璃等材料来增加建筑的装饰效果。
在新艺术运动的建筑中，室内空间的布局被赋予了同样重要的地位，设计师注重色彩和光线的运用，以创造出一种独特的氛围和艺术效果。
在家具设计方面，新艺术运动的设计师致力于创造出一种既美观又实用的家具风格。
他们强调流线型的形式和曲线的线条，追求材料的真实和自然，同时注重细节和装饰的精致。
新艺术运动的家具常常使用大胆和复杂的造型，充满了设计师对生活的理解和对艺术的追求。
设计师常常采用木材、石材、金属和玻璃等材料，以增强家具的装饰效果，并将艺术和功能融为一体。
新艺术运动时期的设计在当时产生了广泛的影响，并且对后来的现代主义设计产生了重要的启示。
新艺术运动的设计师鼓励创新和个人表达，他们试图用独特的设计语言来传达自己的思想和情感。
在设计师们的努力下，新艺术运动成为了一种独特而受欢迎的艺术运动。
mexican mural art 托福文章墨西哥壁画艺术，起源于该国丰富的历史和文化遗产，自从20世纪初以来，已经发展成为一种具有世界影响力的艺术形式。
墨西哥壁画艺术以其独特的风格和内容，赞誉全球，更为我国的艺术界带来了深远的影响。
墨西哥壁画艺术的起源可以追溯到公元前3000年，当时的墨西哥文明已经开始在墙壁上绘制图像。
然而，真正奠定墨西哥壁画艺术基础的是20世纪初的墨西哥艺术家们，他们以社会现实主义的手法，描绘了墨西哥的社会生活、历史事件和民间传说。
其中，最有影响力的三位艺术家分别是Diego Rivera、José Clemente Orozco和David Alfaro Siqueiros，他们的作品不仅在国内受到欢迎，也在国际艺术舞台上大放异彩。
墨西哥壁画艺术的发展和影响力得益于墨西哥政府对文化事业的扶持。
20世纪20年代，墨西哥政府开展了一系列文化改革运动，鼓励艺术家创作反映民间生活和社会问题的作品。
这一政策促使墨西哥壁画艺术迎来了黄金时期，许多艺术家受到启发，将壁画作为表达自己观点和情感的载体。
此外，墨西哥壁画艺术还传播到了世界各地，影响了美国、欧洲等地的艺术创作，形成了世界艺术的一部分。
墨西哥壁画艺术的特点和风格独具一格。
首先，它的题材多样，既有历史事件，也有民间传说，甚至包括社会问题和政治议题。
其次，墨西哥壁画艺术的构图和色彩鲜明，大胆使用红、蓝、绿等鲜艳色彩，形成强烈的视觉冲击力。
再者，墨西哥壁画艺术的线条流畅，富有动感，使画面更具生动感。
在我国，墨西哥壁画艺术的影响力不容小觑。
自20世纪50年代起，我国艺术家开始关注并学习墨西哥壁画艺术，将其融入到自己的创作中。
墨西哥壁画艺术对我国壁画的题材、技法和风格都产生了重要影响，使我国壁画艺术更具表现力和民间性质。
总的来说，墨西哥壁画艺术是一种具有世界影响力的艺术形式，其独特的风格和内容赢得了全球的赞誉。
它不仅反映了墨西哥的历史和文化，还对世界艺术产生了深远的影响。
The Museum of Humankind is a remarkable institution dedicated to the exploration and celebration of human history, culture, and achievements. Nestled in the heart of the city, it stands as a testament to the rich tapestry of human experiences that have shaped our world.Upon entering the museum, visitors are greeted by a grand lobby adorned with a mosaic of human faces from various ethnicities, symbolizing the diversity and unity of our species. The museum is divided into several sections, each focusing on different aspects of human life.The first section, The Dawn of Humanity, takes visitors on a journey through time, starting from the earliest hominids to the emergence of Homo sapiens. Exhibits include lifesized replicas of ancient human settlements, tools used by our ancestors, and interactive displays that allow visitors to experience what it was like to live during these early times.Moving forward, the Civilizations section showcases the development of human societies across different eras and regions. Here, one can marvel at the architectural wonders of ancient Egypt, the intricate art of the Renaissance, and the technological advancements of the Industrial Revolution. Each exhibit is meticulously curated to provide a comprehensive understanding of the cultural, social, and political contexts of these civilizations.The Arts and Culture wing is a haven for art enthusiasts. It houses an extensive collection of paintings, sculptures, and other forms of artistic expression from various cultures around the world. From the breathtaking frescoes of the Sistine Chapel to the vibrant colors of African textiles, the museum offers a visual feast that celebrates the creativity and ingenuity of humankind.In the Science and Innovation section, visitors can explore the milestones in human scientific discovery and technological progress. Interactive exhibits demonstrate the principles of physics, chemistry, and biology, while displays highlight the contributions of great minds like Isaac Newton, Marie Curie, and Albert Einstein.The Human Rights and Social Justice section is a poignant reminder of the struggles and triumphs in the pursuit of equality and freedom. It features exhibits on the abolition of slavery, the womens suffrage movement, and the civil rights era, inspiring visitors to reflect on the ongoing fight for social justice.The museum also boasts a stateoftheart research center, where scholars and experts delveinto the complexities of human history and culture. It serves as a hub for intellectual exchange and collaboration, fostering a deeper understanding of the human experience. The Museum of Humankind is not just a repository of artifacts and information it is a living, breathing testament to the resilience, adaptability, and creativity of our species. It encourages visitors to appreciate the rich heritage of humanity and to consider their role in shaping the future of our world.。
经过十个月的整修重建，费城艺术博物馆的中国展厅已于近期对外开放。
展陈内容设计以“亡后来世：墓葬与永生”“内观省思：自然与教化”“外眺寰宇：中土与西方”“掌理天下：皇室与宫廷”四大主题陈述中国艺术千年以来的发展历史，通过丰富多样的馆藏精品，给观众带来一个崭新的观展氛围与文化视野。
经过十个月的整修重建，费城艺术博物馆<■Philadelphia Museum of Art)的中国展厅已于近期对外开放。
在硬件设备方面，馆方这次除了重新装设高节能的LED灯光照明系统以提高视觉清晰度外，也以蜂蜜色的橡木地板取代旧有的涂漆混凝土，让整间展厅增添些许温暖柔和感。
至于展品陈设内容，在总策展人木下弘美的领导规划下，以四大主题实行活泼生动的方式，陈述中国艺术千年以来的发展历史。
通过丰富多样的馆藏精品，包括绘画、造像、陶器、瓷器、雕刻、金工、服饰、织品与家具和当代创作等，策展团队期冀能给观众带来一个崭新的观展氛围与文化视野。
百余年来的收藏历程费城艺术博物馆是最早有意识收藏中国文物的公立机构之一。
该▲中国展厅陈设单位前身为“宾夕法尼亚博物馆暨工业艺术学院”(PennsylvaniaMuseum and School of IndustrialArt),始建于1876年，后于193467每月一品▲明代传统建筑厅室，费城艺术博物馆藏年改成今日名称。
馆方宗旨为在国内的教育和经济领域中加强与推广工业艺术。
该馆的首批核心藏品源自1876年举办的万国博览会，此为庆祝美国独立100周年的纪念活动。
当时中方参展作品除了常见贸易对象如漆器、牙雕、丝绸与陶瓷外,还出现珪琅、木雕、青铜、绘画与玉器等，制作年代从古至今皆有包括。
馆方在该次展会上购藏了不少中方作品，自此奠定了中国文物收藏的基础。
1877至1910年间，费城艺术博物馆从各方收藏人士手中获得大批中国艺术品，其中多以陶瓷为主，可忠实反映当时西方藏家的收藏兴趣与美学偏好。
例如1882年克莱尔•杰瑟普•布卢姆菲尔德•穆尔为了纪念已故丈夫布卢姆菲尔德•穆尔，曾向馆方捐出超过300件陶瓷，种类以外销瓷为主，其中也包含少量的明清官窑。
Impressionism, a vibrant and revolutionary art movement that emerged in the mid19th century, has captivated the hearts and minds of art enthusiasts worldwide. As a high school student with a deep passion for the arts, I find myself particularly drawn to the mesmerizing world of Impressionist oil paintings. These works of art, characterized by their unique brushwork, vivid colors, and innovative approach to light and shadow, have left an indelible mark on the history of art.My fascination with Impressionism began when I first laid eyes on Claude Monets Water Lilies. The painting, a stunning depiction of a pond filled with blooming lilies, captivated me with its soft, almost ethereal quality. The way Monet captured the play of light on the waters surface, the delicate interplay of colors, and the overall sense of tranquility in the scene was nothing short of magical.The Impressionist movement was a response to the rigid academic standards of the time, which favored traditional, highly detailed paintings. Artists like Monet, PierreAuguste Renoir, and Edgar Degas sought to break free from these constraints and explore new ways of seeing and representing the world around them. They were particularly interested in capturing the fleeting moments and transient effects of light, which they achieved through the use of loose, rapid brushstrokes and an emphasis on color over line.One of the key features of Impressionist oil paintings is the way they depict the world in a more immediate and spontaneous manner. The artists often painted en plein air, or outdoors, to capture the changinglight and atmosphere of a scene. This approach resulted in paintings that were more vibrant and dynamic than the carefully composed works of the past.Another aspect of Impressionism that I find particularly intriguing is the way it challenges our perception of reality. The artists of this movement were not so much interested in creating a perfect, lifelike representation of their subjects, but rather in conveying the essence of a moment or an experience. This can be seen in the way they often blurred the lines between objects and their surroundings, creating a sense of movement and continuity in their paintings.The use of color in Impressionist oil paintings is also noteworthy. The artists of this movement were known for their bold, vibrant color palettes, which they used to create a sense of depth and atmosphere in their works. They often applied colors directly from the tube, without mixing them on the palette, resulting in a more intense and luminous effect.One of the most iconic examples of this can be seen in Vincent van Goghs Starry Night. The swirling, vibrant blues and yellows of the night sky, combined with the warm, earthy tones of the village below, create a sense of energy and movement that is truly captivating.Despite its initial reception, which was often met with criticism and ridicule, Impressionism has since become one of the most influential and beloved art movements in history. The works of the Impressionist painters continue to inspire and captivate audiences around the world, and their innovativeapproach to art has paved the way for countless other movements and styles.In conclusion, the world of Impressionist oil paintings is a rich and fascinating one, filled with beauty, innovation, and a deep appreciation for the fleeting moments of life. As a high school student, I am continually inspired by the works of these visionary artists, and I look forward to exploring their legacy further in my future studies and artistic pursuits.。
墨西哥壁画艺术1. 墨西哥壁画艺术的历史与文化意义墨西哥壁画艺术作为拉丁美洲艺术的重要组成部分，具有悠久的历史和丰富的文化内涵。
自20世纪初以来，墨西哥壁画艺术在墨西哥国内外都产生了巨大的影响，成为墨西哥文化的代表，也为世界壁画艺术作出了重要贡献。
2. 墨西哥壁画艺术的起源和发展墨西哥壁画艺术起源于古代印第安文明，具有悠久的历史。
在西班牙殖民统治时期，基督教题材成为壁画艺术的主题，同时融入了印第安人的艺术元素。
20世纪初，墨西哥艺术家迭戈·里维拉斯等人开始运用壁画作为宣传社会主义理念和民族精神的工具，将墨西哥壁画艺术推向了巅峰。
3. 墨西哥壁画艺术的风格和特点墨西哥壁画艺术的风格多样，既包括了传统的宗教题材和历史题材，也涵盖了现实主义、抽象主义等不同风格。
壁画艺术家们通常选择在公共场所、建筑墙壁上创作壁画，使得艺术作品可以更多地接触到民众，成为大众艺术。
4. 墨西哥壁画艺术对艺术界的影响墨西哥壁画艺术以其独特的表现形式和丰富的文化内涵，对国际艺术界产生了深远的影响。
里维拉斯、肖勒、奥罗兹科等墨西哥壁画艺术家的作品被世界各地的博物馆和画廊收藏，成为世界壁画艺术的瑰宝。
5. 墨西哥壁画艺术的当代价值和意义当代墨西哥壁画艺术家们继承和发扬了传统，同时也加入了现代元素和艺术理念，使得墨西哥壁画艺术焕发出新的生命力。
壁画艺术成为了表达社会现实、抒发情感的重要途径，也为当代艺术创作提供了丰富的灵感和启示。
总结：墨西哥壁画艺术作为世界上独具特色的艺术形式，既承载了古老的历史和文化，也展现了当代的艺术创新和生机。
其深厚的文化内涵和多样化的艺术表现形式，使得墨西哥壁画艺术在国际艺术舞台上独树一帜。
希望在未来，墨西哥壁画艺术能够继续发展壮大，为世界艺术文化的交流与发展作出更大的贡献。
墨西哥壁画艺术的当代价值和意义墨西哥壁画艺术一直以来都扮演着社会宣传和意识形态传递的角色。
尤其是在墨西哥革命之后，壁画艺术成为了重要的社会宣传手段，表现了普通人民的生活和斗争。
返回上一页文档 1，共 1 个MFA explores Mexican art movement with VIDA Y DRAMA DE MEXICOSaccoccia, Susan . The Boston Banner [Boston, Mass] 18 June 2009: 13-14.Check Columbia Libraries for fulltext /?ctx_ver=Z39.88-2004&ctx_enc=info:ofi/enc:UTF-8&rfr_id=info:sid/ProQ%3Aethnicnewswatch&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=article&rft.jtitle=The+Boston+Banner&rft.atitle=M 2C+Susan&rft.aulast=Saccoccia&rft.aufirst=Susan&rft.date=2009-06-18&rft.volume=44&rft.issue=45&rft.spage=13&rft.isbn=&rft.btitle=&rft.title=The+Boston+Banner&rft.issn=Another section shows works by group of younger artists who in 1937 founded the Taller de Gr áfica Popular (TGP), a workshop that was active until 1957. Alberto Beltr án conveys the TCP's mission in his poster for its 20-yearretrospective, "Vida y drama de Mexico - 20 a ños del Taller de Gr áfica Popular." A printmaker's hands etch an image of an ordinary man, whose life and struggles the TGP make visible, while a tuxedoclad skeleton represents the "drama" - Mexico's bloody conflicts, political corruption and economic exploitation.As muralists and printmakers, [Diego Rivera] and [Clemente Orozco] were telling different stories. While Riveraidealizes the Revolution, Orozco depicts its human toll and the corruption and atrocities on both sides of the war.Orozco's print "La retaguardia" ("Rear Guard," 1929) depicts with spare, slashing strokes a band of "soldaderas," the women who followed their men into battle and sometimes fought alongside them. The print shows some carrying rifles, others pitchforks and hoes, and still odiers, babies.Orozco's lithograph "Las masas" ("The Masses," 1935) could be a scene from Dante's "Inferno." The satirical image portrays the monstrosity of a mob, which Orozco depicts as a quivering, inhuman pack of flag-waving figures with enormous, howling mouths.During the first decades of the 20th century, Mexico was making its convulsive transition from dictatorship todemocracy. After the ousting of strongman Porfirio D íaz in 1910, the nation plunged into a seven-year civil war. More than 2 million people died or fled the country during the Mexican Revolution. But in its wake, Mexico emerged with a progressive, modern spirit. Its artists were part of the transformation.As Mexico instituted political, economic and agrarian reforms, some of the country's greatest artists were developing a unique vein of Modernism. Using a new, distinctly Mexican visual language, they created images that stirred civicpassion for a nation reinventing itself. Some turned to the printing press, a tool with 3 long history in Mexico, which in 1539 received the first press in the Americas.At the Museum of Fine Arts, Boston (MFA), the exhibition "Vida y Drama: Modern Mexican Prints" shows 32 works by two generations of artists during these turbulent decades. One section, "The Modern Mexican Masters," displays prints by painter Rufino Tamayo (1899-1991) and the nation's three great muralists: Diego Rivera (1886-1957), Jos éClemente Orozco (1883-1949) and David Alfaro Siqueiros (1896-1974).Another section shows works by group of younger artists who in 1937 founded the Taller de Gr áfica Popular (TGP), a workshop that was active until 1957. Alberto Beltr án conveys the TCP's mission in his poster for its 20-yearretrospective, "Vida y drama de Mexico - 20 a ños del Taller de Gr áfica Popular." A printmaker's hands etch an image of查找副本摘要 (概要)全文文献an ordinary man, whose life and struggles the TGP make visible, while a tuxedoclad skeleton represents the "drama" - Mexico's bloody conflicts, political corruption and economic exploitation.While adapting techniques of Renaissance fresco painters, as well as the U.S. and European avant-garde, Mexico's early Modernists also looked to their country's own traditions, including its pre-Hispanic heritage and folk art icons.They developed a visual language to portray both the grotesque and glorious events of their times, blending the pareddown lines of abstract expressionism with imagery that could express the macabre, monstrous and surreal - often with savage satire.These events included the Spanish Civil War and World War II, which the TGP connected with Mexico's own political struggles.A rifle's bayonet gouges the eye of a fanged Hider as U.S., . British and Russian flags rise above flaming pyre of fascist symbols in "¡Victoria!" (1945), a color linocut by TGP member Angel Bracho (b. 1911) that celebrates the victory of die Allied and Red Armies.Mexico's ubiquitous skulls inspired die "calevaras," die wily, grinning skeletons that populated die cartoons of Mexico's first modern satirist, José Guadalupe Posada (1852-1913). Although Posada's works are not on display, his influence pervades the show.In Posada, Mexico's Modernists had a homegrown artistic ancestor. Churning out thousands of mass-produced penny broadsheets, or "hojas volantes" (flying leaves), Posada used skeletons to caricaturehigh-soäety .dandies and omer figures of power during the long reign of Díaz. After censors ran Posada out of his hometown, he moved to Mexico City, where as boys, Rivera and Orozco frequented his print shop.Early in their careers, Rivera and other Mexican artists traveled to New York and the art capitals of Europe, joining the international give-and-take that was revolutionizing art. Siqueiros explored the accidental effects of industrial paints, experiments that influenced Jackson Pollock and other artists who were seeking new ways to express die unconscious.Although Tamayo ended up living in New York and Paris, the light and landscapes of Mexico would infuse the semi-abstract paintings he made throughout his career. On view is Tamayo's powerful woodcut "Virgin of Guadalupe" (1926-1927). The image has the spare geometry of pre-Hispanic art and its praying figures evoke the ancestry of Tamayo, a Zapotee Indian.Friends and rivals, Rivera, Orozco and Siqueiros created epic murals that covered die public buildings of Mexico. Their super-sized national narratives attracted Mexico's capitalist neighbor to die north. Ford Motor Co. hired Rivera, a loyal Communist, to immortalize its factories. His mural at die Detroit Institute of the Arts on the evolution of technology links the Ford plant with early Aztec and Mayan achievements in engineering.The artists known as "Los Tres Grandes," or The Three Great Ones, also turned to lithography, which enabled them to create art that was portable in scale and readily reproducible for fine-art patrons.A masterful lithographer, Rivera varied die pressures on the engraving plate to create prints that rival drawings in their refinement and tonal range. Among the prints on view is Rivera's lithographic montage of his wife, the renowned Mexican painter Frida Kahlo. Like a surreal X-ray into her psyche, the two-sided print portrays her as a mysteriously androgynous figure. His strikingly vulnerable self-portrait, "Autorretrato" (1930), shows his plump jowls and fleshy face.Rivera's elegant, curvilinear lithograph, "Zapata" (1932), portrays peasant-turned-military leader Emiliano Zapata outfitted in white, standing by a white steed and holding a scythe. Surrounded by totem-faced workers and peasants armed with bows and arrows and hoes, he plants his foot on a dead soldier's sword - celebrating a revolution fought by those close to die earth.Another Rivera lithograph, "Escuela al aire libre" ("Open Air School" 1932), is a pastoral scene in which a solemn circle of peasants and children learn to read, while behind diem, fanners till fields and a rifled guard stands on protective watch.As muralists and printmakers, Rivera and Orozco were telling different stories. While Rivera idealizes the Revolution, Orozco depicts its human toll and the corruption and atrocities on both sides of the war. Orozco's print "La retaguardia" ("Rear Guard," 1929) depicts with spare, slashing strokes a band of "soldaderas," the women who followed their men into battle and sometimes fought alongside them. The print shows some carrying rifles, others pitchforks and hoes, and still odiers, babies.Like Rivera, Orozco took U.S. commissions. But his fresco in the Baker Library of Dartmouth College portrays the saga of die Americas as an epic tale of greed and violence. The mural starts with the Aztec and Spanish conquests and concludes with a machine-age meltdown, an apocalyptic vision of Christ destroying his cross in a smoldering wasteland.Orozco's lithograph "Las masas" ("The Masses," 1935) could be a scene from Dante's "Inferno." The satirical image portrays the monstrosity of a mob, which Orozco depicts as a quivering, inhuman pack of flag-waving figures with enormous, howling mouths.Perhaps Posada's closest kin in the MFA show is Leopoldo Méndes (1902-1969), a TGP founder and masterful printmaker. In his hands, even artists become the butt of satire. A display case holds his wood engraving "Concierto de locos" ("Fools' Concert," 1943).The print caricatures several prominent reformers and artists, including Rivera and Siqueiros, who are each plunking on a different instrument, out of tune with their times and each other. Following an expose of tainted milk sales,Méndes produced a linocut that shows a female "calavera," half-woman and half-cow, firing a rifle at another hybrid, a can of milk in a businessman's suitIn 1942, as Mexico joined the Allies, Méndes produced one of the first depictions of Jews being transported to Nazi concentration camps. In his stark linocut "Deportación a la muerte" (1942), a cloud of thick black smoke trails a long Une of boxcars. One is open, and a soldier's lamp lights the gaunt faces of die captives, etched widi a few expressive lines. Drawn with forceful gashes, the boxcars look like coffins.This small powerhouse of an exhibition shows artists developing a new visual language while bearing witness to their times.Posada's calevaras adopted an icon deeply rooted in the Mexican psyche, evoking die equalizing power of death. Although death has die last word, by wielding its symbol, Posada and die artists that followed him brought truth to life."Vida y Drama: Modern Mexican Prints" is on view dirough Nov. 2, 2009 at the Museum of Fine Arts, Boston, 465 Huntington Avenue, Boston. It appears along with an exhibition in the adjoining gallery, "Viva Mexico! Edward. Weston and His Contemporaries," which explores the photographer's two formative sojourns in Mexico during die 1920s. For more information on die exhibits, visit .SidebarPainter Rufino Tamayo's powerful woodcut "Virgin of Guadalupe" (1926-1927) displays the spare geometry of pre-Hispanic art and its praying figures evoke Tamayo's Zapotee Indian ancestry. The woodcut is one of many arresting images on view at "Vida y Drama: Modern Mexican Prints," an exhibition running through Nov. 2. 2009. at the Museum of Fine Arts, Boston. (Image courtesy of the Museum of Fine Arts, Boston)Copyright Bay State Banner Jun 18, 2009索引(详情)主题Art exhibits;Visual artists;Hispanics;History;Painting地点Boston Massachusetts种族African American, Caribbean, African标题MFA explores Mexican art movement with VIDA Y DRAMA DEMEXICO作者Saccoccia, Susan出版物名称The Boston Banner卷44期45页13-14页码，4/4版权© 2013 ProQuest LLC。
