Miguel+Covarrubias

=__Miguel Covarrubias__= (Note: To view illustrations from Covarrubias, visit Miguel Covarrubias and Other Artists)



(Courtesy of: http://xroads.virginia.edu/~MA01/Grand-Jean/Hurston/Chapters/artist.html) At the time of Mule and Men's publication, the illustrator of the text, Miguel Covarrubias, had already acquired much renown and it is his illustrations perhaps more than the text itself that first validated the work. Miguel Covarrubias was born in Mexico City in 1904. His father was a civil engineer who worked for Porfino Diaz,the president of Mexico at the time.Although Covarrubias dropped out of school at the age of fourteen he received his earliest commission from his father when he began to draw maps. Although he received little formal training like Hurston he too had many occupations. During his life he worked as a painter, writer,caroonist, theatre designer, print maker, teacher and anthropologist. In 1923 he went to New York City on a Government scholarship after his caricatures appeared in //Vanity Fair// and //Fortune Magazines//. In 1925 he published a collection of his caricatures entitled "The Prince of Wales and other Famous Americans." Like Hurston, Covarrubias was interested in the study of other cultures and from 1930 to 1933 he traveled to Bali, India, Vietnam and Africa on a grant from the Guggenheim Institute. In 1930 Covarrubias met and married Rosa Rolanda an artist and photographer in her own right. In 1937 he began his writing career with the publication of __Island of Bali__. In 1946 he published __Mexico South__, in 1954 __The Eagle and the Serpent__, and in 1957 __The Indian Art of Mexico and Central America__. As part of the Golden Gate International Exposition he painted two mural maps depicting the cultures of the Pacific. He died in Mexico on February 4, 1957.

The Illustrations of Mules and Men
Echoing Hurston's emphasis on African American spirituality, a majority of Covarrubias illustrations take faith as thier subject matter. || The Fight Scene Chapter 10 Illustration of Sermon:"Behold the Rib" || This image accurately depicts Hurston as she attempts to find her "Hoodoo" with the help of nothing but a glass of water and her naked body. || Hurston The Initiate ||
 * Although many of the illustrations of the text prove generic and not useful in terms of interpreting the text. Overall the working class aesthetic redeemed by the words of the text, finds equal treatment in the images of the text. Like Hurston's characters, Covarrubias subjects laugh, love and fight.
 * Of all the illustrations, those that appear in the section entitled "Hoodoo" prove the most insightful. In one memorable illustration Covarrubias depicts Hurston as she lies on a snakeskin for three days in order to become Turner's initiate.

The scope of Covarrubias work as well as his connections among notable artists like Carl Van Vechten, Hurston, Langston Hughes, and others necessitates a fuller and more detailed study of his work. The point of this section was merely to give a glimpse of Covarrubias contribution to the text and provide some samples of his work.

@http://en.wikipedia.org/wiki/Miguel_Covarrubias

José Miguel Covarrubias (November 22, 1904 Mexico City — February 4, 1957) was a Mexican painter and caricaturist, ethnologist and art historian among other interests. In 1924 at the age of 19 he moved to New York City armed with a grant from the Mexican government, tremendous talent, but very little English speaking skill. Luckily, Miguel could draw. In her book, Covarrubias, author Adriana Williams tells how Mexican poet José Juan Tablada and New York Times critic/photographer Carl Van Vechten, introduced him to New York's literary/cultural elite also known as the Smart Set. Soon Miguel was drawing for several top magazines, eventually becoming one of Vanity Fair magazine's premier caricaturists., A man of very few talents, he also began to design sets and costumes for the theater including Caroline Dudley Reagon's La Revue Negre starring Josephine Baker in the show that made her a smash in Paris. Other shows included Androcles and the Lion, The Four Over Thebes, and the Garrick Gaities' Rancho Mexicano number for dancer/ choreographer Rose Rolanda (aka Rose Roland, Rosa Rolanda and Rosa Covarrubias). The two fell in love and traveled together to Mexico, Europe, Africa and the Caribbean in the mid to late 1920s. During one of their trips to Mexico, Rosa and Miguel traveled with Tina Modotti and Edward Weston, who taught Rosa photography. Rosa was also introduced to Miguel's family and friends including artist Diego Rivera. Rivera's second wife, Frida Kahlo and Rosa would become lifelong friends., Miguel's artwork and celebrity caricatures have been featured in The New Yorker and Vanity Fair magazines. The linear nature of his drawing style was highly influential to other caricaturists such as Al Hirschfeld. Miguel's first book of caricatures The Prince of Wales and Other Famous Americans was a hit, though not all his subjects were thrilled that his sharp, pointed wit was aimed at them. He immediately fell in love with the Harlem jazz scene, which he frequented with Rosa and friends including Eugene O'Neill and Nickolas Muray. He counted many notables among his friends including Zora Neale Hurston, Langston Hughes and W.C. Handy for whom he also illustrated books. Miguel's caricatures of the jazz clubs were the first of their kind printed in Vanity Fair. He managed to capture the spirit of the Harlem Renaissance in much of his work as well as in his book, Negro Drawings. He did not consider these caricatures, but serious drawings of people, music and a culture he loved. Covarrubias also did some wonderful illustrations for The Heritage Press including Uncle Tom's Cabin, Green Mansions, Herman Melville's Typee, and Pearl Buck's All Men Are Brothers as well as publisher Alfred & Charles Boni's Frankie and Johnny for a young writer who would become a good friend and film director named John Huston. Today, these editions are very sought after by collectors. He collaborated in Austrian Artist Wolfgang Paalen's journal Dyn from 1942-44. Additionally his advertising, painting and illustration work brought him international recognition including gallery shows in Europe, Mexico and the United States as well as awards such as the 1929 National Art Directors' Medal for painting in color for his work on a Steinway & Sons piano advertisement., Miguel and Rosa married in 1930 and they took an extended honeymoon to Bali with the National Art Directors' Medal prize money where they immersed themselves in the local culture, language and customs. Miguel returned to Southeast Asia (Java, Bali, India, Vietnam) in 1933, as a Guggenheim Fellow with Rosa whose photography would become part of Miguel's book, Island of Bali. The book and particularly the marketing for months surrounding its release, contributed to the 1930s Bali craze in New York., Rosa and Miguel returned to live in Mexico City where he continued to paint, illustrate and write. Their home, Tizapán, would become a hub for visitors from around the world including the likes of Nickolas Muray, Dolores del Río, and Nelson Rockefeller. He taught ethnology at the Escuela Nacional de Antropología e Historia and was appointed artistic director and director of administration for a new department at the Palacio de Bellas Artes, the National Palace of Fine Arts. His mandate was to add an Academy of Dance - a task to which Rosa with her dance and choreography background was most valuable. Miguel recruited friend and dancer José Limón who brought his dance company from New York City for the inaugural season in 1950, taught at Bellas Artes and helped arrange for international exposure of this new Mexican modern dance company. During Miguel's tenure traditional Mexican dance was not only researched, documented and preserved but by this research into its roots, it helped usher in a new era in contemporary Mexican dance., Covarrubias is known for his analysis of the pre-Columbian art of Mesoamerica, particularly that of the Olmec culture, and his theory of Mexican cultural diffusion to the north, particularly to the Mississippian Native American Indian cultures. His analysis of iconography presented a strong case that the Olmec predated the Classic Era years before this was confirmed by archaeology. His interest in anthropology went beyond the arts and beyond the Americas -- Covarrubias lived in and wrote a thorough ethnography of the "Island of Bali". He shared his appreciation of foreign cultures with the world through his drawings, paintings, writings, and caricatures.

__Bibliography__

 * //The Prince of Wales and Other Famous Americans// Miguel Covarrubias, 1925
 * //The Weary Blues// Langston Hughes, (Illustrations by Miguel Covarrubias) 1926
 * //An Anthology of the Blues// W.C. Handy, (Illustrated Plates by Covarrubias) 1927
 * //Negro Drawings// Miguel Covarrubias, 1927
 * //Meaning No Offense// John Riddell (Illustrations by Miguel Covarrubias) 1928
 * //Frankie & Johnny// John Huston, (Illustrations by Miguel Covarrubias) 1930
 * //Mules and Men// Zora Neale Hurston, (Illustrations by Miguel Covarrubias)1935
 * //Typee// Herman Melville (Illustrations by Miguel Covarrubias), Limited Editions, 1935
 * //Island of Bali// 1937
 * //Mexico South// 1946
 * //The Eagle, the Jaguar, and the Serpent - Indian Art of the Americas; North America: Alaska, Canada, the United States// 1954
 * //Mezcala, Ancient Mexican Sculpture//, with William Spratling & André Emmerich, 1956
 * //Indian Art of Mexico and Central America// 1957