Ana Mendez Azcarate - The muse
SKU: 32431705258

Ana Mendez Azcarate - The muse

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Description

Ana Mendez Azcarate - The museThis is a large lithograph by the well regarded Mexican artist, Ana Mendez Azcarate. It is about 30" x 22", was done in 1986, is signed and numbered from an edition of 50, and is in excellent condition. 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.

This is a large lithograph by the well regarded Mexican artist, Ana Mendez Azcarate. It is about 30" x 22", was done in 1986, is signed and numbered from an edition of 50, and is in excellent condition.

 

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: 32431705258

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Jocko Smarts
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★★★★★ 5
Good for the effort and price.
This will _NOT_ make your lights look brand new! It will make them clear again. Or mostly clear if your lights are super bad. I had one old light and one new light on my car when I bought it. It drove me crazy walking by my car. I used this exactly per instructions other than I rubbed the crap out of my light. I got great results! Not perfect though. I got two clear headlights now. That is what I wanted. The finish is a little rough. This is to be EXPECTED since you are not using buffing compound. Use gloves. The finish looks like a light is a few years old now instead of 15 years old. It will not be can not make your light look new. Get the expensive kit if you want new look. My lights look close enough to not catch the eye. I am satisfied.
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Reviewed in the United States on April 14, 2024
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These headlight cleaner wipes worked far better than I thought they would. I have used many a headlight cleaner and restorer, but this kit was the easiest to use with very good results. No need for power tools or even different sanding disks. Just two different types of wipes, super easy. We will see how long the lights stay clear for, but if I had to do it once a year it would be worth it! Four stars because the lights came out clear, but not crystal clear, but to be fair that may just be the condition of my headlights. Try this least expensive, easy fix first. It many very well be just what you need.
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Reviewed in the United States on December 14, 2025
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DW95
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★★★★★ 3
Worth it for $12.
Three stars for the progress it made on the lights of our 9 year old car. It works, but it won't look like new. Requires a bit of elbow grease, and it feels like a waste when the wipes run dry pretty fast. You have to keep them folded small (per the instructions) so they don't evaporate too fast, but then you get a tiny cleaning surface area as well. Spoiler alert: They still dry out fast. I wish I'd taken pictures for you because you WILL see a good improvement. Just don't expect brand new look. I'd say we had a maybe 75% improvement, and that combined with the new headlamps we installed made them work great. 4 stars if they want to come back and offer a like 2-4oz bottle of the chemical they use on the wipes and just let me use my own microfiber. That would be great.
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Reviewed in the United States on August 31, 2025
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Diane K
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★★★★★ 1
Product doesn't work as advertised
This product does not provide enough wipes to remove more than the minimum amount of oxidation. The headlights were starting to yellow, so the oxidation was not severe. We followed the directions on the box to the letter and after using the wipes as directed were left with a sticky residue (which was left-over oxidation that the drying wipes could not remove). I am forced to purchase another box of the product in order to complete the job. I can't drive my car around with the tape protecting the body of the car on it, plus this is Florida so there would be bugs stuck in the tape and the sticky residue. A terrible product. Plus when I called them they said they would send me an email so I can tell them what the problem is and they would give it to their "research" staff to handle. I'm doing that and perhaps they will reimburse me for the second box I will have to get overnighted in order to finish the job.
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Reviewed in the United States on April 18, 2025
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Lissi
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Armor All Car Headlight Cleaner Wipes – Quick & Easy Clarity
The Armor All Car Headlight Cleaner Wipes are a convenient and effective solution for restoring foggy, yellowed, or hazy headlights without the need for complicated kits. These pre-moistened wipes make it super easy to wipe away oxidation and dirt, improving visibility and enhancing the car’s overall appearance. ✅ Pros: Quick & Easy to Use: No need for additional tools or sanding. Restores Clarity: Helps reduce haze and oxidation buildup. Convenient Packaging: Portable and easy to store in the car. No Harsh Chemicals or Strong Odors. ⚠️ Cons: May Require Multiple Uses for Heavily Oxidized Headlights. Not a Permanent Fix: Works best for maintenance but may not fully restore very cloudy headlights. Can Leave a Slight Residue: Needs buffing for the best shine. Final Verdict: For a quick fix and easy maintenance, the Armor All Headlight Cleaner Wipes are a great go-to option. They work well for light oxidation and keeping headlights clear, but for severely foggy lights, a full restoration kit may be needed. Great for touch-ups and convenience
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