Drawing Myth and History in visual art

After the famous exhibition “Copier créer” curated by Jean Pierre Cuzin in the “Musée du Louvre” in 1993, the practice of drawing art has acquired a renovated interest. This exhibition revised the theoretical concepts introduced by Bober and others in the second half of the XXth century and increased the value of the contribution of drawing in the study of art history instead of the idea of copying. An important catalog and essay by Haverkamp, Begemann and Login, titled “Creative copies”, appeared in 1988 and contained the best examples of the main collections. The last but not least important consequence was the collaboration between international museums, using their own spaces, with contemporary artists. The hermeneutic drawings and paintings by Markus Lüpertz in the Munich Glyptotheck and the exhibition of Giacometti’s drawings shown in the IVAM in 2000 are two excellent examples of the European relevance in this field. I want to analyze here twenty years of drawing done in different museums and institutions around the world and its close relationship with the process of recovering our historical memory by using visual art

Drawing Myth and History in visual art

After the famous exhibition “Copier créer” curated by Jean Pierre Cuzin in the “Musée du Louvre” in 1993, the practice of drawing art has acquired a renovated interest. This exhibition revised the theoretical concepts introduced by Bober and others in the second half of the XXth century and increased the value of the contribution of drawing in the study of art history instead of the idea of copying. An important catalog and essay by Haverkamp, Begemann and Login, titled “Creative copies”, appeared in 1988 and contained the best examples of the main collections. The last but not least important consequence was the collaboration between international museums, using their own spaces, with contemporary artists. The hermeneutic drawings and paintings by Markus Lüpertz in the Munich Glyptotheck and the exhibition of Giacometti’s drawings shown in the IVAM in 2000 are two excellent examples of the European relevance in this field. I want to analyze here twenty years of drawing done in different museums and institutions around the world and its close relationship with the process of recovering our historical memory by using visual art

Desarrollo de formulaciones de colores líquidos para el uso en polietileno de alta, baja densidad y polipropileno en una empresa de plásticos

El presente trabajo de tesis da a conocer la forma en la cual los colores líquidos han representado una alternativa competitiva dentro de la industria del plástico para la fabricación de productos con mayor acabado estético, durabilidad, pero sin dejar a un lado el bajo costo. Además se hace referencia a las actividades de investigación, desarrollo y resultados obtenidos durante la formulación de colores líquidos los cuales se emplearon en resinas termoplásticas tales como polietileno de alta densidad, baja densidad y polipropileno para aportar color, los cuales fueron transformados, mediante los procesos de inyección para la fabricación de productos de alta calidad. En el presente también se muestra los procesos, procedimientos, material y equipo así como la base bibliográfica que sirvieron de cimientos para el desarrollo satisfactorio del proyecto. Cabe notar que el proyecto de colores líquido fue desarrollado debido a la constante evolución de la industria del plástico y con base a la necesidad de conseguir productos de alta calidad, valor agregado, por tal motivo se han desarrollado los colores líquidos para su aplicación en plásticos