CENTENARY IMAGES ON THE COVER

This illustration was in the first reading comprehension book for the People's School. Written by Baldomero Zenil in 1912, this textbook was part of the national education program at the start of the 20th century.

This piece is a lithograph promoting the musical piece Maurice Lame Duck Waltz with the dancer Florence Walton, who together with her husband, the choreographer and dancer Maurice Mouvet, were world renowned during the 20th Century.

This drawing by Paul J. Hackett in 1915 served for the patent registration of a device to be added to telephones in order to improve in differential microphones and has for its principal object to improve upon the construction of microphones.

Shot by renowned photographer Sabino Osuna, who portrayed a group of cyclists who participated in the parade during the triumphal entry of the Constitutionalist Army into Mexico City, on Saturday, August 15, 1914. The date inscribed in the image probably indicates the date which the photograph was revealed.

Illustration made in 1914 by Friedrich Hofmeister for the cover of the score of the poem Playeras, written by Justo Sierra in 1868 and adapted for the stage years later by Eduardo Gabriel, which was distributed and marketed by the Warner and Levien successors.

Photograph taken by Jesús Abitia, which was used to promote the revolutionary campaigns of the constitutionalist forces led by Álvaro Obregón in the northeast of the country in 1914.

Lithograph of the cover of the illustrated book The Mexican Child, which was conceived for elementary education in the second year of primary school and was used as the official text from 1903 to 1908.

Lithograph of the cover of the score In a Lonely Cabin on a Lonely Road by Geo. Norton and S.R. Henry in 1915. This musical work was inspired by a lonely road to Tennessee. The plot refers to nostalgia for the land and stars a lonely woman who remembers love, places and old times.

This poem was a gift from the newspaper El Democrata, a morning Constitutionalist newspaper, in the year 1916. Propaganda in favor of constitutionalism was carried out on its pages. The ode appears on a loose leaf, probably published in a Sunday supplement, by photomechanical printing.

The photography that this score illustrates alludes to the customs of the time, an element that is clearly identified in the aesthetic construction of the portrait and in the clothing of the protagonists. The title, La Confession, is evident in the expression of both little girls, captured by Carey Morgan in 1916.

The cover of this score, made in 1916 by Enrique Granados, photomechanically reproduces the work El Pelele, by the painter Francisco de Goya y Lucientes. It is part of a series of cartoons that Goya used to decorate tapestries, which in turn were placed in royal palaces.
In the image you can see four women dressed as majas keeping a romper - a rag doll used for carnival games and bachelorette parties. The act performed by women symbolizes the power of women over men.

This image by M. Murguía pays a graphic tribute to the members of the Constituent Congress who wrote the 1917 Magna Carta that currently governs us. The collage-type composition distributes the deputies as follows: in the center you can see Luis Manuel Rojas, president of Congress, above him a winged victory appears holding the Constitution. Around them are accompanied by 45 deputies who participated in the development of the new laws.

The image corresponds to a lithographic print of the score of a patriotic hymn created in the first half of the 19th century.
Due to the constant warlike conflicts that Mexico suffered in the 19th century, an effort was generated to create symbols that would unite Mexicans in the fight against the invader. According to the book Mexican National Anthem. Its history, this image is inserted in "the epoch of civic and romantic poetry, of the tendency to nationalize literature".

The image is inspired by the Greek myth of Psyche and love, which narrates the myth in which Aphrodite, goddess of beauty, jealous of the beautiful Psyche, sends her son Eros to launch an arrow with which Psyche would fall in love with the ugliest and meanest man. However, Eros falls in love with her and takes her to his palace, where full of curiosity Psyche breaks the promise of not revealing the identity of her beloved.
The painter William-Adolphe Bouguereau takes up the myth to paint an oil with erotic and sublime characteristics, typical of the Academy.