Mundo Obrero : Dedicado Al Movimiento Proletario Revolucionario Y A La Liberacion Nacional, Especialmente De Los Paises Del Caribe, Anos 2, Numero 6, Enero De 1932

New York City Ny: Mundo Obrero, 1932. 1st Edition . Soft cover. Very Good. Hugo Gellert, Jacob Burk / Burck, Etc.. 24 Pp. Illustrated New-York-Based Journal, Published 1931-1933, One Of Several Spanish-Language Rags Published In Different Countries, Each Focused On A Particular Area, All Intimately Connected To The Soviet Union And Its "Communist Party" Units Abroad; The Madrid Journal Was Published 1931-1978. Rear Cover With List Of Mundo Obrero Publications In Spanish, With Illustration Of A Massive Chinese Peasant Sweeping Away Representatives Of U. S. Imperialism, British, Japanese, And French, "Manos Fuera De China". Light Wear And Browning, Light Damp Stain In Upper Right Corner. Worldcat Shows Two Institutional Holdings Of These Original Editions, But Microfilm Is More Generally Available. The Cover Artist, Hugo Gellert (Born Hugó Grünbaum, 1892 -1985), Was A Hungarian-American Illustrator And Muralist. A Committed Radical And Member Of The Communist Party Of America, Gellert Created Much Work For Political Activism In The 1920S And 1930S. It Was Distinctive In Style, Considered By Some Art Critics As Among The Best Political Work Of The First Half Of The 20Th Century. His Family Immigrated To New York In 1906. Gellert Studied In Art Schools In New York. He Had Said That "Being An Artist And Being A Communist Are One And The Same." He Used His Art To Advance His Ideals For The Common People. Much Of His Art Depicted What He Saw As The Injustices Of Racial Divides And Capitalism. Often His Works Were Captioned With Slogans To Further The Illustration. The Working Day, For Example[3] Shows A Black Laborer Standing Back To Back With A White Miner. It Is Accompanied By A Phrase From Karl Marx's Das Kapital, "Labor With A White Skin Cannot Emancipate Itself Where Labor With A Black Skin Is Branded. Opposed To World War I, Gellert Published His First Anti-War Art In 1916. His Work Was Prominently Featured Both In The Illustrated Magazine Of The Hungarian Socialist Federation Of The Socialist Party Of America, Elore (Forward), As Well As Max Eastman's Radical Monthly Magazine The Masses From This Time. He Also Created Numerous Illustrations For Eastman's Successor Magazine, The Liberator, Including The Cover Art For The First Issue, As Well As Sundry Publications Of The Communist Party Usa After Its Formation, Such As The Workers Monthly And The New Masses. Later, Gellert Was Offered A Position As A Staff Artist For The New Yorker Magazine. In 1925, He Moved To The New York Times. In 1927, Gellert Was Appointed The Leader Of The Anti-Horthy League, The First American Anti-Fascist Organization. In This Capacity, He Organized A Demonstration Against U.S. President Calvin Coolidge, And Both He And His Wife Were Arrested While Picketing The White House. In 1932, The Museum Of Modern Art In New York City, Feeling Uncomfortable About Gellert's Public Persona And Politics, Petitioned To Have Gellert's Work Removed From Its Collection. However, They Were Forced To Reconsider When Other Artists, Many Of Whom Did Not Share Gellert's Social Idealism, Came To His Defense As Fellow Artists And Threatened To Withdraw Their Own Works. In 1934 Gellert Was Among The Leaders Of The Artists Committee Of Action, An Informal Group Which Had Formed To Protest Nelson Rockefeller's Destruction Of Diego Rivera's Mural Man At The Crossroads Early In The Year At Rockefeller Center. Gellert Was Instrumental In The Establishment Of Art Front Magazine, Which Started Publication In November 1934 And Was At First Jointly Published By The Aca And The Artists Union. In 1939, Gellert Helped Organize The Group, "Artists For Defense". He Later Became The Chairman For "Artists For Victory", An Organization That Included Over 10,000 Members. Gellert's Social Commentary, His Work And His Beliefs Have Placed Him Among The Greatest American Social Artists Of The Art Deco Era, According To Experts In The Field.