La protesta
Date: 1937
Medium: Linocut
Dimensions (cm.): 19.5 x 11.7
Alternate titles: Unknown
Published edition:
Number of impressions unknown.
Reprinted in 1943 in portfolio 25 Prints of Leopoldo Méndez: 100 impressions in numbered portfolios, 50 of them on China paper (described as “special imported chinese stock”), plus 3 impressions in unnumbered portfolios. Each impression signed in graphite, lower right, and annotated 23, lower right corner of sheet. Sheet dimensions 24.4 x 19.2 cm.
Reprinted on invitation for reception in honor of the delegates to the III Congreso General de la Confederación de los Trabajadores de América Latina (CTAL), marzo de 1948, verso.
Contemporary publication:
In reduced size as vignette on cover of Miguel Otero Silva, Agua y cauce (Editorial "Mexico Nuevo", 1937).
On invitation. See published edition, above.
Principal references: Exposición de Homenaje 397?, Méndez INBA 7
Selected additional references (illustrated): Caplow 2017, 139; Heller 1999, 10; Reyes Palma 1994, pl. 55; Ricker 2015, 458
Commentary: This print uses the expressionistic representations of bodies and faces to portray the drama of domination and resistance. In La protesta (The Protest), a gigantic figure rises out of a crowd of protesters, his face contorted with emotion and his upraised fist clenched. In the foreground a man with a whip beats a naked man, who crawls toward the mass of people in the background. The giant man points an accusatory finger toward the tormentor and victim. The print suggests the influence of Belgian artist Frans Masereel, whose work Méndez admired. Masereel often depicted giant, solitary figures emerging from crowds. The print also reflects the influence of José Clemente Orozco, with its twisted, abject and almost faceless figures. (Deborah Caplow)
Comentario: Esta obra utiliza representaciones expresionistas de cuerpos y rostros para retratar el drama de la dominación y la resistencia. En La protesta, una figura gigantesca se eleva sobre una multitud de manifestantes, con el rostro contorsionado por la emoción y el puño levantado y cerrado. En primer plano, un hombre con un látigo golpea a un hombre desnudo, que se arrastra hacia la masa de gente que se encuentra al fondo. El hombre gigante señala con el dedo acusador al verdugo y a la víctima. El grabado sugiere la influencia del artista belga Frans Masereel, cuya obra admiraba Méndez. Masereel solía representar figuras gigantes y solitarias que emergían de entre la multitud. El grabado también refleja la influencia de José Clemente Orozco, con sus figuras retorcidas, abyectas y casi sin rostro. (Deborah Caplow)
Catalogue record number: 352