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Un recorrido por la historia del boxeo argentino a través de una selección de peleas insoslayables y de sus figuras más importantes, de la mano de tres de los periodistas que más saben. El 14 de septiembre de 1923, en el Polo Grounds de Nueva York, Luis Firpo y Jack Dempsey se enfrentaron en un combate para el infarto. Firpo regresaría a la argentina con una derrota con gusto a robo para obtener la primera licencia que tuvo el boxeo profesional en el país. Nacía así, cien años atrás, el boxeo argentino. Son muchos los golpes y las figuras que pasaron desde entonces por los cuadriláteros de acá y del mundo. Las doce peleas que se relatan aquí no son las más feroces ni las más taquilleras. Tampoco acaso las "mejores", sino un puñado de las que jalonaron la historia. Todas encierran momentos memorables que duran apenas unos segundos pero dejaron huellas indelebles en el imaginario colectivo. El Torito Suárez llena un estadio para ganarle a Mocoroa. Desde Japón, Pascual Pérez trae el primer campeonato mundial. La rivalidad entre Prada y Gatica trasciende el cuadrilátero para insertarse en la vida política y social de su época. Locche pinta, en su victoria ante Fujii, nuestra primera obra maestra. Ringo Bonavena y Ali protagonizan un verdadero choque de planetas. Y hay más. El uno-dos de Monzón dominando a los medianos de su era. La épica y sangrienta batalla entre Galíndez y Kates. La mano milagrosa del Roña Castro ante Jackson. La hazaña de la Tigresa Acuña desafiando a Christy Martin sin siquiera tener licencia. Maravilla Martínez imponiéndose con talento y drama ante Chávez Jr. El Chino Maidana desafiando al mejor del mundo y poniendo el coraje y los alfajores argentinos en boca de todo el planeta. Cien años de historias escritas en sangre y sudor. Y el relato en las voces de tres generaciones de periodistas que nos traen cada golpe, cada lágrima y cada grito de agonía y de éxtasis de esta gesta que sigue tallando grandes nombres en el deporte argentino.

A leading Mexican artist of the 20th century, Rivera was known for his colorful murals in both the U.S. and Mexico that dealt with political themes.

Chronicles the life of Mexican artist Diego Rivera and discusses the artists who influenced him, his involvement in Communism, his family life, and other related topics.

In 1931, Diego Rivera was the subject of The Museum of Modern Art's second monographic exhibition, which set attendance records in its five-week run. The Museum brought Rivera to NewYork six weeks before the opening and provided him a studio space in the building. There he produced five 'portable murals' - large blocks of frescoed plaster, slaked lime and wood that feature bold images drawn from Mexican subject matter and address themes of revolution and class inequity. After the opening, to great publicity, Rivera added three more murals, taking on NewYork subjects through monumental images of the urban working class. Published in conjunction with an exhibition that brings together key works from Rivera's 1931 show and related material, this vividly illustrated catalogue casts the artist as a highly cosmopolitan figure who moved between Russia, Mexico and the United States and examines the intersection of art-making and radical politics in the 1930s.

This second part extends from the illustrious words of DiegoRivera returned to Mexico in June 1921 until his death. After spending nearly fourteen years in Europe reached a Mexico in the middle stage of reconstruction, in which the revolutionary leaders who emerged triumphant arms had changed by the speeches and promises of change. Devourer of news from any part of the cultural and politicalspectrum, the artist not only brought with them their knowledge of the European avant-garde but the desire to put in writing theirviews on art, politics and the works of his contemporaries. Wroteabout himself, and much, but over all artistic expression to callyour attention. He wrote much as he painted, with the sameexpressive power with the same passion. Urgent verbal reactionsto their own works, to put forward the social function of art andartistic creators call to form a united front to the side of the peasants and workers. Along with the works presented areexcerpts from texts that reflected the painter left his aesthetic ideas. In this book the reader can enjoy a little spread DiegoRivera, to which we must not only see but also read.

Traces the life and career of the Mexican painter, looks at his murals, portraits, and sketches, and discusses the influence of pre-Columbian art on his work

Diego Rivera is celebrated by Gerry Souter as a virtuoso Mexican muralist, where he could express at once his legend and myths, his technical talent, his intense story-telling focus and self-indulgent ideological convictions. His easel paintings and drawings also constitute a large body of both his early and late work and are represented in the book. Gerry Souter, the author of the remarkable Frida Kahlo, overcomes his huge admiration for Diego Rivera to give the artist a human dimension, found in his political choices, his love affairs and his belief that this truth was Mexico, the language of his thoughts, the blood in his veins, the azure sky above his resting place.