Prints and Drawings
Artist: José Chávez Morado, Mexican, 1909–2002
Publisher: Taller de Gráfica Popular, Mexico City, founded 1937

“La risa del pueblo”: Con su música a otra parte (“The Laughter of the People”: With Their Music Elsewhere)



sheet: 67 × 43 cm (26 3/8 × 16 15/16 in.)
Gift of Mr. and Mrs. Norman Holmes Pearson, B.A. 1932, Ph.D. 1941
Broadsheets distributed by the Taller existed as alternative media to the right-wing, foreign-controlled newspapers. In this piece, a gachupín—a negative term for Spaniards living in Mexico—sits blowing into a tuba, sardonically labeled “free press.” The head of Miguel Ordorica, the pro-fascist editor of La prensa, forms the bell of the instrument, with names of other papers written on his neck. Wearing a swastika earring, he breathes out words like “lies,” “betrayal,” and “provocation.” The verses below declare that the free press is actually “neither free nor press,” and the expression con su música a otra parte means, politely, “get lost.”
Made in Mexico
20th century
Works on Paper - Prints - Posters

Diane Miliotes, What may come : the Taller de Gráfica Popular and the Mexican political print = Lo que puede venir : El Taller de Gráfica Popular y el grabado político mexicano., First, exh. cat. (Chicago: Art Institute of Chicago: Art Institute of Chicago, 2014), 15, no. Plate 9, ill.

Gina Costa et al., Para la gente : art, politics and cultural identity of the Taller de Gra´fica Popular : selected works form the Charles S. Hayes Collection of twentieth-century Mexican graphics, exh. cat. (Notre Dame (IN): Snite Museum of Art, University of Notre Dame, 2009), 42, no. 11, Plate 11.

Dawn Ades and Alison McClean, Revolution on Paper: Mexican Prints 1910-1960, ed. Mark McDonald, exh. cat. (London; Austin: British Museum Press, 2009), 142, no. 75.

Michael Ricker et al., El Taller de Gráfica Popular: Vida y Arte, exh. cat. (Athens, Ga.: Georgia Museum of Art, University of Georgia, 2015), 128, ill.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.