Synonyms for fondo_editorial or Related words with fondo_editorial
Examples of "fondo_editorial"
C.C.E. Casa de la Cultura Ecuatoriana, 2004
* Eugenio Miranda, Zapato 3: una fantástica historia de amor y aventura,
C.C.E. Casa de la Cultura Ecuatoriana, first impression 1993 ISBN 9978-62-048-6
"Los hijos de los libertadores" (The Sons of the Liberators) By Guillermo Thorndike, Published by
del Congreso del Perú,
del Banco de Crédito del Perú, 2005, ISBN 9972-221-01-6, ISBN 978-9972-221-01-9
Meza, E.N.(Editor). 1999. "Desarrollando nuestra diversidad biocultural: Sangre de Grado y el reto de su producción sustentable en el Perú". Lima: Universidad Nacional Mayor de San Marcos,
Franquicias Imaginarias. las Opciones Estéticas en las Artes Plásticas en el Perú de Fin de Siglo. Artes, Ciencias y Humanidades. Cuestiones y Perspectivas (with Max Hernández)
de la PUCP, 2003.
She married Mexican photographer Manuel Álvarez Bravo, who became her teacher, and she worked as his assistant and printer. From 1969 to 1981 worked as assistant, photographer and administrator at
de la Plástica Mexicana founded by Manuel Álvarez Bravo, Rafael Carrillo, Carlos Pellicer y Leopoldo Méndez.
The Universidad Nacional Mayor de San Marcos
is the publishing arm of the National University of San Marcos in Lima. The publishing house produces books, magazines and newspapers. Publications are printed in hard copy as well as via the internet.
Pagano's debut novel was "Y si yo fuera Susana San Juan…" ("What if I were Susana San Juan…") - published in 1998 and 2006 by
Tierra Adentro. It received the National award Premio Nacional de Novela Jose Ruben Romero in 1995.
After this, he worked at the magazines "El Caimán Barbudo" and "La Gaceta de Cuba", along with Bladimir Zamora, Norberto Codina, Arturo Arango and Omar Valiño. At the time he left Cuba, he had been working as the director of the
Casa de las Américas.
In 1953, Alberto Beltrán invited him to join the Instituto Nacional Indigenista in Chiapas. There he worked on visual aids for communities in the highlands area of that state. After Chiapas he became a professor at the Escuela de Artes Plásticas where he taught for twenty six years. In the 1960s, he worked with photographers Mariana Yampolsky and Manuel Álvarez Bravo as well as with Leopoldo Méndez at the
de la Plástica.
David Raphael (The Alhambra Decree, Carmi House Press, 1988, citado en Blanca Isabel de Lima Urdaneta, Coro: fin de diáspora: Isaac A. Senior e hijo: redes comerciales,
Humanidades, 2002, ISBN 9800020144, pg. 16) indica que "Perez-Co-Ronel" puede leerse en una mezcla de castellano y hebreo como "perezco cantando a Dios", mientras que "Núñez Coronel", leído como "No-Nizco-Ronel" significaría "recordaremos cantando a Dios".
She has contributed to the Revista de Bellas Artes in 1976 as well as to books such as "Skulptur im Licht" in Germany (1997), "Los niños de México" (1981), L"uz y tiempo, colección fotográfica formada por Manuel Álvarez Bravo para Fundación Cultural Televisa" (1995). She worked as an administrator, assistant and photographer for the
de la Plástica Mexicana from 1969 to 1981. She has published two works on her husband’s life and work, "Polaroids / Manuel Alvarez Bravo" in 2005 and "Manuel Alvarez Bravo: Photopoetry" in 2008.
His first publication was in 1945, writing the book “El arte negro.” His photographs appeared in many publications over his career including the book México: pintura de hoy by Luis Cardoza y Aragón in 1964. He co wrote and provided the photographs for the book Instante y revelación along with Octavio Paz in 1982. In 1959 he founded the
de la Plástica Mexicana with Leopoldo Méndez, Gabriel Figueroa, Carlos Pellicer and Rafael Carrillo which produces books on Mexican art. He spent most of the 1960s with this project, putting him in relative obscurity until the 1970s when his work was widely exhibited again.
In the 1980s, his country declared him "Hijo Predilecto" (Favored Son) and awarded him a "Golden Texao." His native city of Arequipa awarded him its Gold Medal and the City of Lima its Civic Medal (1985). His career continued to earn the recognition of the Peruvian State. His country awarded him its highest honor, the Orden del Sol, with Grand Cross (1982); Medal of Congress with the Grade of Commander (1982) and Las Palmas Magisteriales, with the degree of Amauta (1988). The
of the Congress of the Republic of Peru has published a compilation of his works, Lucy Nunez Rebaza editor.
In 1958/1959 Méndez left the Taller de la Gráfica Popular due to ideological differences and founded a new publishing concern called the
de la Plástica Mexicana along with Manuel Álvarez Bravo, Carlos Pellicer, Rafael Carrillo Azpeitia and Ricardo J. Zevada. The first book published by the organization was "La pintura mural de la Revolución Mexicana", followed by "Los maestros europeo de la Galería de San Carlos de México" and "José Guadalupe Posada, ilustrador de la vida mexicana". It became a major art book publishing company producing several high-quality books about Mexican art while he directed it. When he died, he was working on a book about Mexican handcrafts and folk art.
Manuel Álvarez Bravo (February 4, 1902 – October 19, 2002, age 100) was Mexico’s first principal artistic photographer and is the most important figure in 20th-century Latin American photography. He was born and raised in Mexico City. While he took art classes at the Academy of San Carlos, his photography is self-taught. His career spanned from the late 1920s to the 1990s with its artistic peak between the 1920s to the 1950s. His hallmark as a photographer was to capture images of the ordinary but in ironic or surrealistic ways. His early work was based on European influences, but he was soon influenced by the Mexican muralism movement and the general cultural and political push at the time to redefine Mexican identity. He rejected the picturesque, employing elements to avoid stereotyping. Over his career he had numerous exhibitions of his work, worked in the Mexican cinema and established
de la Plástica Mexicana publishing house. He won numerous awards for his work, mostly after 1970.
Copyright © 2017