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The Taller de Gráfica Popular [TGP, People’s Print Workshop], with Leopoldo Méndez, Pablo O’Higgins, and Luis Arenal as founding fathers, had always intended to work together as a group on various types of printmaking and painting in the studio, and to produce work that contributed to the progressive and democratic interests of the Mexican people. Palencia explains that, in spite of scant material resources at the collective’s disposal, this branch of the visual arts found support in the Workshop for its exposure and improvement. The Spanish critic, who lives in Mexico, recognizes the Workshop’s commitment to social responsibility in their decision to use their images to protect the rights of disenfranchised Mexicans.   


In post-revolutionary Mexico, those who believed that art had a social purpose created a number of art groups with political agendas that worked to communicate their ideas to all segments of society. This process re-energized the graphic arts community and led them to challenge easel painting on the grounds that it was bourgeois, and to transmit a variety of messages to a larger number of Mexicans. Ever since 1937 the Taller de Gráfica Popular (TGP) had in fact, been one of the most successful collectives, supported by important artists who were re-evaluating both the popular press and its illustrators.

Mireida Velázquez : CURARE A. C.
CURARE, Espacio crítico para las artes, Mexico City, Mexico
Courtesy of Carlos Alberto Palencia García, Mexico City, México
Biblioteca Rubén Bonifaz Nuño del Instituto de Investigaciones Filológicas, Universidad Nacional Autónoma de México