catrina valeria lara carolina cardona nayeli ramirez brenda leyva

CATRINA

VALERIA LARA

CAROLINA CARDONA

NAYELI RAMIREZ

BRENDA LEYVA

La Catrina was created by Mexican artists as a metaphor for the Mexican upper class before the Revolution, in the times of Porfirio Diaz. After this skeleton dressed in stylish and colorful clothes, high society lady dressed for a walk in the old Alameda Central , became a symbol of death in the celebration , on 1 and 2 November , of the Day of the Dead.

La Catrina ' can be shown in many ways. Sometimes there is cheerful, dressed with the elegance of early last century , wanting to have fun and even flirtatious and seductive with mortals . But sometimes , it's the ' skinny ' that at any time only appears to take us from this world .

The relationship that she has is defined by circumstances relating to the history and culture, the traditions and customs of each region is considered an essential guest on important occasions with the dead , such as All Saints Day and Last news all Souls . Death and the memory of our loved ones give us a sense of identity that in turn rooted our culture.

Some artists shaped the image of La Catrina in engravings that have made it immortal . For example , Manuel Manilla , born in 1830 and died in 1895 , is considered the precursor of José Guadalupe Posada for his caricatures including skeletal characters . But perhaps the best known of the writers is precisely Posada , who was born in Aguascalientes on February 2, 1852 , and died in Mexico City on January 20, 1913 .

Diego Rivera La Catrina also reflected in the mural 'Sunday Afternoon in Alameda Park', in which Death uses a very refined attire fashion memories early last century and remains of pre-Hispanic culture, as is the feathered serpent on his shoulders