
Fisherman, from Estampas de Yucatán
<p>Like many of his contemporaries, Zalce expressed a deep interest in the varied indigenous and regional cultures of Mexico. The eight prints in the <a href="https://www.artic.edu/artworks/222729"><em>Estampas de Yucatán</em></a> portfolio—which was successfully marketed in both Mexico and the United States—attest to his enduring fascination with contemporary Mayan culture following an extended trip in 1944 to the southeastern Mexican region of the Yucatán. Here he presented the Maya as a dignified and contained people existing in harmony with their environment. The prints focus on characteristic gestures and seemingly unchanged rituals of work, as well as on the area’s lush and bountiful terrain, both imposing and sustaining in its presence. Such lyrical meditations on a provincial present and its connection to an idealized indigenous past correspond with the postrevolutionary conceptions of <em>mexicanidad</em>, the recognition of Mexican popular traditions and regional cultures.</p> <p><strong>Español:</strong><br>Al igual que muchos de sus contemporáneos, Zalce demostró un gran interés en las diferentes culturas indígenas y regionales de México. Los ocho grabados que componen el portafolio <a href="https://www.artic.edu/artworks/222729"><em>Estampas de Yucatán</em></a> que se vendió muy bien tanto en Estados Unidos como en México son prueba de su sostenida fascinación por la cultura maya contemporánea, surgida tras un largo viaje en 1944 a la península de Yucatán. En los grabados presentó a los mayas como un pueblo digno y reservado que habita en armonía con su medio ambiente. Los grabados se centran en gestos característicos y en rituales de trabajo que aparentemente no habían cambiado con el tiempo, así como en el terreno exuberante y próspero de la zona simultáneamente imponente y pródigo en su presencia. Estas meditaciones líricas sobre un presente provinciano y su conexión con un pasado indígena idealizado se corresponden con los conceptos posrevolucionarios de mexicanidad, el reconocimiento de las tradiciones populares y de las culturas regionales de México.</p>
Catalogue
- Year
- 1945
- Dimensions
- Image: 27.1 × 32.1 cm (10 11/16 × 12 11/16 in.); Sheet: 38.7 × 44.9 cm (15 1/4 × 17 11/16 in.)
- Collection
- Art Institute of Chicago
- Artist
- Alfredo Zalce
Artist

Printmaking
Alfredo Zalce was a Mexican painter and printmaker active from the 1930s onward, working in a figurative style grounded in social realism and Mexican political art. His practice encompassed mural painting, easel works, and woodcuts that engaged with themes of labor, indigenous culture, and national identity. Zalce remained committed to accessible, publicly oriented forms throughout a long career spanning the postwar period and beyond.
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More by Alfredo Zalce
Fish Market (Pescadería) from AGPA 73: Pan American Graphic Arts (AGPA 73: Artes gráficas panamericanas)
1973 · Linoleum cut from a portfolio of 11 screenprints (one with embossing), seven etchings (three with aquatint, one with embossing), six lithographs (one with etching), five linoleum cuts (one with embossing), one engraving, and one intaglio with embossing
Posada and his Skeletons
1948 · Woodcut
Woman and Child
1947 · Etching on paper
Hammock
1947 · Etching on cream wove paper
Prologue Page, from Estampas de Yucatán
1946 · Lithograph in black on cream wove paper
Folio cover, from Estampas de Yucatán
1946 · Photo relief with letterpress in black and red on magenta cloth portfolio cover
Record
Verified by WattsOS- Artist
- Alfredo Zalce
- Year
- 1945
- Dimensions
- Image: 27.1 × 32.1 cm (10 11/16 × 12 11/16 in.); Sheet: 38.7 × 44.9 cm (15 1/4 × 17 11/16 in.)
- Watts ID
- WW-1945-093939
Source
- Collection
- Art Institute of Chicago
- Source
- aic
- Reference
- View at source
- Status
- verified





