De la revisión del <em>artista del pueblo</em> al cuestionamiento institucional. Lecturas sobre Guillermo Facio Hebequer
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grabado, artista del pueblo, Guillermo Facio Hebequer, Kathe Kollwitz, Max Beckmann, Otto Dix, George Grosz, Frans Masereel, José Guadalupe Posada, Taller de Gráfica PopularResumen
El enfoque del grabado en su estrecha vinculación con la difusión de contenidos sociales y políticos es posiblemente uno de los aspectos más reconocidos de su propia tradición. A partir del efecto movilizador que se puede desprender de la circulación seriada o plural de discursos artísticos de cuestionamiento y oposición, la idea del grabado como arte comprometido o de denuncia social constituye un topos a partir del cual se ha entendido el lugar o la función de esta producción. Las imágenes de algunos gráficos alemanes como Käthe Kollwitz, Max Beckmann, Otto Dix o George Grosz, del belga Frans Masereel, o de los mexicanos José Guadalupe Posada o los miembros del Taller de Gráfica Popular forman parte de la idea del grabado como vehículo para la difusión del discurso social o comprometido en distintos momentos del siglo XX.
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