273 great 19th-century woodcuts: crimes, miracles, skeletons, ads, portraits, news cuts. Table of contents includes Calaveras; Disasters; National Events; Religion and Miracles; Don Chepito Marihuano; Chapbook Covers; Chapbook Illustrations; and Everyday Life.

Funny Bones tells the story of how the amusing calaveras—skeletons performing various everyday or festive activities—came to be. They are the creation of Mexican artist José Guadalupe (Lupe) Posada (1852–1913). In a country that was not known for freedom of speech, he first drew political cartoons, much to the amusement of the local population but not the politicians. He continued to draw cartoons throughout much of his life, but he is best known today for his calavera drawings. They have become synonymous with Mexico’s Día de los Muertos (Day of the Dead) festival. Juxtaposing his own art with that of Lupe’s, author Duncan Tonatiuh brings to light the remarkable life and work of a man whose art is beloved by many but whose name has remained in obscurity. The book includes an author’s note, bibliography, glossary, and index.

One girl, one painting a day...can she do it? Linda Patricia Cleary decided to challenge herself with a year long project starting on January 1, 2014. Choose an artist a day and create a piece in tribute to them. It was a fun, challenging, stressful and psychological experience. She learned about technique, art history, different materials and embracing failure. Here are all 365 pieces. Enjoy!

Jose Guadalupe Posada is one of the most important graphic artists of modern Mexico. This book offers a close examination of his extensive broadsheet work in its original context: the murders, disasters, revolts, and popular heroes that engaged the attention of the public in Mexico City in the declining years of Porfirio Diaz's dictatorship. Patrick Frank analyzes the sources of Posada's style in Mexican and European prints and cartoons and shows how he altered them to fill his illustrations with vigor and life. Frank shows that Posada's outlook was that of the working class and that he depicted the stories of his day from a vantage point belonging neither to the defenders of the regime nor to its organized opposition. This book brings fresh insights to the work of a major figure in Mexican art history.