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Prints and Drawings
Photo credit: Yale University Art Gallery
Full-size image not available for download. Please contact Rights and Reproductions.
Artist: Francisco Mora, Mexican, 1922–2002
Publisher: Taller de Gráfica Popular, Mexico City, founded 1937

Libertemos los presos políticos del 1º de mayo 1952 (Let Us Free the Political Prisoners of May 1, 1952)

1953

Linocut

platemark: 52 × 85 cm (20 1/2 × 33 7/16 in.)
sheet: 67.9 × 94 cm (26 3/4 × 37 in.)
Gift of Monroe E. Price, B.A. 1960, LL.B 1964, and Aimée Brown Price, M.A. 1963, Ph.D. 1972
2011.203.10
The 1952 annual march on International Workers’ Day turned bloody when plainclothes policemen fired into the demonstrators, setting off a riot that resulted in three hundred arrests. Those targeted were members of unions and political parties who had resisted affiliating themselves with the government. In this poster, a near life-size man stands in front of the main text, which reads like an extension of the banners waving in the background. His outstretched hand urges the viewer to join the cause. Rather than illustrating the arrests that the poster condemns, Francisco Mora created an image that taught the viewer how to react to such events, and implied that others were already doing the same.
Geography: 
Made in Mexico
Culture: 
Mexican
Period: 
20th century
Classification: 
Works on Paper - Prints - Posters
Bibliography: 

Helga Prignitz, El Taller de Gráfica Popular en México, 1937–1977 (Mexico City: Instituto Nacional de Bellas Artes, 1992), 324, no. 152.

Humberto Musacchio, El Taller de Gráfica Popular (Mexico City: El Fondo de Cultura Economica, 2007), 195, ill.

Dawn Ades et al., Revolution on Paper: Mexican Prints, 1910–1960, ed. Mark McDonald, exh. cat. (Austin, Tex.: University of Texas Press, 2009), 149, no. 80.

“Acquisitions,” https://artgallery.yale.edu/sites/default/files/files/Pub_Bull_acquisitions_2012.pdf (accessed December 21, 2012).

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.