Argues that Posada, rather than making his printing plates entirely by hand as was previously believed, made considerable use of photomechanical processes. Uses detailed analysis of the surviving metal plates from some of Posada's works to demonstrate that the quality of line could not have been made through engraving, but had to result from photo-etching based on scraperboard originals. Supports this assertion with reference to the very large number of works produced by the artist, noting that such productivity would have been impossible if he had in fact engraved all his plates. Concludes by discussing the relationship between the printmaker and the publisher with whom he worked, Antonio Vanegas Arroyo, whose choice of cheap paper and frequent reuse of cracked and broken plates enhanced the "old-fashioned" look of Posada's prints.
Sauf mention contraire ci-dessus, le contenu de cette notice bibliographique peut être utilisé dans le cadre d'une licence CC BY 4.0 / Unless otherwise stated above, the content of this bibliographic record may be used under a CC BY 4.0 license