First published in 1986. Routledge is an imprint of Taylor & Francis, an informa company.

A 1925 book by Miguel Covarrubias, a Mexican cartoonist. The book features several dozen black-and-white caricatures of famous American (mostly New York-based) personalities from the 1920s. Many of the drawings were originally published in Vanity Fair magazine, which employed Covarrubias as a staff cartoonist. Cartoons of people including: Florence Mills, Otto Kahn, Willa Cather, Jack Dempsey, Charlie Chaplin, Calvin Coolidge, H.L. Menchen, George Jean Nathan, John D. Rockefeller, Ann Pennington, Al Smith, Jascha Heifetz, Mary Pickford, Theodore Dreiser, Harold Lloyd, Alfred Stieglitz, Ed Wynn, George Gershwin, George Horace Lorimer, Rudolph Valentino, Leopold Stokowski, Babe Ruth, Carl Van Vechten, Eddie Cantor, Alexander Woollcott, Mrs. Fiske, Joseph Hergesheimer, Emily Lewis.

The lovers were already legends by the 1930 collaboration between a future director and a fashionable illustrator. Distinctive images enhance the play's script, plus 20 variations on the story and song.

The artist author has portrayed the nature of the region, in geography, ethnology, anthropology, archaeology, history, economics, plastic arts, literature, music, folklore, religion, food, drink, sexual customs, etc. The result is an evocation of an entire civilization, throwing light upon the history and culture of all Mexico.

In the 1930s, the acclaimed Mexican artist Miguel Covarrubias and his wife Rose made two trips to Bali, the results of which would impact the world's understanding of the island thereafter.

Geo-Mexico provides a lively, up-to-date and comprehensive exploration of Mexico, from climates to culture, population to politics, ecosystems to economy, transport to tourism, and globalization to gated communities. Key features: - assesses Mexico's success in meeting its demographic, economic and environmental challenges - traces the historical processes behind Mexico s modern landscapes - utilizes a variety of concepts, models and theories - engages the reader in contemporary issues, such as development, international migration, sustainability and global warming - explains Mexico s spatial patterns and its growing north-south divide * More than 100 original maps, graphs and diagrams * Over 50 text boxes highlight illustrative examples and case studies * Complete reference notes, bibliography and index. Geo-Mexico is an indispensable resource for anyone interested in Mexico.

At the center of an artistic milieu as vital and exciting as the Left Bank of Paris or Greenwich Village, Rosa and Miguel Covarrubias knew almost everyone in the limelight of the 1930s and 1940s—Langston Hughes, Carl Van Vechten, John Huston, Diego Rivera, and Frida Kahlo, to name just a few. As fascinating themselves as any of their friends, the couple together fostered a renaissance of interest in the history and traditional arts of Mexico's indigenous peoples, while amassing an extraordinary collection of art that ranged from pre-Hispanic Olmec and Aztec sculptures to the work of Diego Rivera. Written by a long-time friend of Rosa, this book presents a sparkling account of the life and times of Rosa and Miguel. Adriana Williams begins with Miguel's birth in 1904 and follows the brilliant early flowering of his artistic career as a renowned caricaturist for Vanity Fair and the New Yorker magazines, his meeting and marriage with Rosa at the height of her New York dancing career, and their many years of professional collaboration on projects ranging from dance to anthropology to painting and art collecting to the development of museums to preserve Mexico's pre-Columbian heritage. Interviewing as many of their friends as possible, Williams fills her narrative with reminiscences that illuminate Miguel's multifaceted talents, Rosa's crucial collaboration in many of his projects, and their often tempestuous relationship.

This is a new release of the original 1940 edition.

In A Modern Miscellany: Shanghai Cartoon Artists, Shao Xunmei’s Circle and the Travels of Jack Chen, 1926-1938 Paul Bevan explores how the cartoon (manhua) emerged from its place in the Chinese modern art world to become a propaganda tool in the hands of left-wing artists. The artists involved in what was largely a transcultural phenomenon were an eclectic group working in the areas of fashion and commercial art and design. The book demonstrates that during the build up to all-out war the cartoon was not only important in the sphere of Shanghai popular culture in the eyes of the publishers and readers of pictorial magazines but that it occupied a central place in the primary discourse of Chinese modern art history.