SKU: 72603650960

Theo - Noche de Walpurguis

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Description

Theo - Noche de WalpurguisThis is a large lithograph by the well regarded Mexican artist, Theo, (Hugo Telesforo Martinez Ramirez). It is about 20 x 13" (50 x 32cm), was done in 1984, is signed and numbered 5 8, and is in very good condition. MLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please

This is a large lithograph by the well regarded Mexican  artist, Theo, (Hugo Telesforo Martinez Ramirez). It is about 20 x 13" (50 x 32cm), was done in 1984, is signed and numbered 5/8, and is in very good condition.

 

MLA Gallery guarantees the authenticity of all of the Latin Master prints with an unconditional guarantee of authenticity, on the gallery letterhead. In addition, we offer a lifetime trade in policy, for the full purchase price. Please inquire about details.

 

 

Mexico has the oldest printmaking tradition in Latin America. The first presses were established there in the 16th mainly to print devotional images for religious institutions. Because of their ephemeral nature, few of these early impressions survive. A rare early exception is a 1756 thesis proclamation printed on silk presented by a candidate for a degree in medicine. With the introduction of lithography to Mexico in the nineteenth century, printmaking and publishing greatly expanded, and artists became recognized for the character of their work. José Guadalupe Posada (1851–1913) is often regarded as the father of Mexican printmaking. His best-known prints are of skeletons (calaveras) published on brightly colored paper as broadsides that address topical issues and current events, love and romance, stories, popular songs, and other themes. Posada demonstrated how effective prints were for creating a visual language that everyone could understand and enjoy. In the early twentieth century, their example had a profound impact on artists who, in response to the turbulent political climate and social unrest, were similarly eager to reach broad audiences.

 

The best-known artists in Mexico from the early decades of the twentieth century are Diego Rivera, José Clemente Orozco (1883–1949), and David Alfaro Siqueiros (1896–1974)—“Los tres grandes” (The Three Greats). They were all committed to politics but expressed their views through their art in very different ways. Of the three, Rivera—who returned to Mexico from Europe at the invitation of the government in 1921 to work on a mural project—rose to greatest prominence. Rivera’s 1932 lithograph Emiliano Zapata and His Horse, based on a detail from one of his murals at the Palace of Cortés Cuernavaca to the south of Mexico City, has become an iconic twentieth-century print. Zapata was a landowner-turned-revolutionary who formed and led the Liberation Army of the South. He embodied the aims of agrarian struggle that aspired to improve conditions for those who worked on the land. Zapata was assassinated in April 1919. Rivera’s print conflates different moments of oppression with optimistic emancipation. It was commissioned and published by the Weyhe Gallery in New York for sale to American collectors. Orozco and Siqueiros also made prints for the U.S. market, a number of which are devoid of political content.

 

The establishment of the print collective known as the Taller de Gráfica Popular (Workshop of Popular Graphic Art, TGP) in Mexico City in 1937 best expresses the symbiosis between prints and politics that had developed in Mexico. Its founders, Leopoldo Méndez (1902–1969), Luis Arenal (1908/9–1985) and Pablo (Paul) O’Higgins (1904–1983), were committed communists who abandoned mural painting to concentrate on printmaking, demonstrating how important prints had become as a vehicle for artistic, social, and political expression. Some of its members had belonged to the League of Writers and Revolutionary Artists (LEAR), which had been launched in 1934. The TGP has a fascinating history steeped in astonishing artistic production and political intrigue. The Bolshevik revolutionary and Marxist theorist Leon Trotsky arrived in Mexico in 1937, much to the horror of the communists represented by Siqueiros, who regarded him as a pro-fascist provocateur. Rivera was a supporter of Trotsky and established a Mexican branch of the Fourth International, a socialist organization that had its own journal, Clave, and ran articles attacking the USSR and the Mexican Communist Party. Siqueiros, then a guest member of the TGP, with fellow printmakers Antonio Pujol (1913–1995) and Luis Arenal, led an attempt to assassinate Trotsky in May 1940. The TGP workshop was their rendezvous point. After the failed attempt, Pujol ended up in prison and Siqueiros fled the country. Their action caused terrible ruptures in the TGP, with some remaining committed to the communist cause and others pressing for a more moderate line.

 

By 1947, the year that the Society of Mexican Printmakers was founded, printmaking had broadened its horizons far beyond its proletarian roots. In fact, printmaking was now considered to be the most intimate of media. Post World War II artist felt a need to reassert private values in opposition to highly politicized work. They opened the way to more subjective investigations of personal identity and myth.

 

Jose Luis Cuevas, Rufino Tamayo, and Francisco Toledo are fine examples of the new sensibility. These later artists have kept alive Mexico’s reputation for excellence in the graphic arts. A common Mexican trait on either side of the U.S.–Mexico border is the passionate interest in Mexicanidad (Mexicanness) and what comprises Mexican identity. Perhaps this obsession to understand the concept of Mexicanidad comes from nearly five centuries of mestizaje – the interracial and cultural mixing that first occurred in Mesoamerica among Native Indigenous groups, European Spanish and enslaved Africans during the 1520s. By the 18th century, Mexican identity had developed. Mestizaje was the process that constructed it. The museum’s permanent collection showcases the dynamic and distinct Mexican stories in North America, and sheds light on why Mexican identity cannot be regarded as singular; its vast diversity defies any notion of one linear history. -

 

Nuestras Historias destaca la colección permanente del museo, la cual expone las historias dinámicas y diversas de la identidad mexicana en Norteamérica. La exhibición muestra la identidad cultural como algo que evoluciona continuamente a través del tiempo, de regiones y de comunidades,  en vez de señalarla como una entidad estática e inmutable, exhibiendo para esto, artefactos mesoamericanos y coloniales, arte moderno mexicano, arte popular, y arte contemporáneo de los dos lados de la frontera EE.UU-México.  La gran diversidad de identidades mexicanas mostradas en estas obras desafía la noción de una sola historia lineal e identidad única. 

 

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SKU: 72603650960

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Jazzlyn McClure
Grantham, US
★★★★★ 5
Large breed approved
Color: Blue
these incredible aggressive chew toys – they've seriously been a game-changer for my pups! I know it's a bit late, but better late than never, right? I've got a couple of power chewers at home, a Rottweiler and a Labrador, and anyone with big dogs knows the struggle of finding toys that actually last. These bad boys have been in constant rotation for over a year now, and I'm genuinely impressed by their resilience. They're incredibly tough! Funnily enough, we originally had three, but now we're down to just one. The others aren't broken, though – I'm pretty sure my dogs just loved them so much they've hidden them away in some secret stash, as they tend to do with their favorite treasures! Beyond just being durable, these toys have been a massive help with their training. They’re fantastic for redirecting all that enthusiastic chewing away from my furniture and shoes, which, let's be honest, is a huge win for any pet parent! Considering how long they've held up to some serious chomping, the price point is absolutely spot on. You definitely get great value for your money.watch your toe they are heavy. If you've got a dog that's a champion chewer, you absolutely need to try these out. They're a lifesaver!
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Reviewed in the United States on May 21, 2026
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Christine Petrowsky
Cuba, US
★★★★★ 5
Great all around
Color: Blue
We have 4 dogs, lab, pit bull, golden retriever, great dane, I bought 4 sets, they are constantly played and chewed on, and are still around everywhere, great to chew on and play with
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Reviewed in the United States on May 27, 2026
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Jan Keene
Lowell, US
★★★★★ 5
Durable chew toy.
Color: Blue
My dog loves these. She chews on them a lot. She seems to like the different shapes. She is part Pit and an aggressive chewer. These chew toys last a long time. And I love the three pack so if we lose one, we always have a spare.
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Reviewed in the United States on May 27, 2026
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Jay
Los Angeles, US
★★★★★ 4
Decent durability for the price
Color: Blue
Bought a bunch of these for a dog shelter and have to say - decent for the price of you have aggressive chewers. All of the toys are still going 6+ months later, even with the strongest jawed pitty mix. Does get torn up at the ends but can easily be sanded down for a longer lasting toy, unlike some other hard toys with material not meant for sanding. The antler and ring seem to be favorites. The antler even has a divot so you can put soft treats in it or peanut butter and freeze it for a more interactive experience. Some came with a strong beef/liver smell but not overwhelming or off-putting. They are hefty without being too heavy, less likely to damage floors. Overall a good purchase
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Reviewed in the United States on May 22, 2026
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Kathryn J Hahn
New York, US
★★★★★ 5
German Shepherd toys
Color: Blue
Great for German shepherds
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Reviewed in the United States on June 6, 2026

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