Hasta La Victoria Siempre

Héctor D. González, Luis C. González, Hasta La Victoria Siempre, 1975, screenprint on paper, Smithsonian American Art Museum, Gift of Tomás Ybarra-Frausto, 1995.50.23, © 1975 H. Gonzalez y Louie the Foot
Luis C. González, Héctor D. González, Hasta La Victoria Siempre, 1975, screenprint on paper, image: 22 1814 14 in. (56.136.2 cm) sheet: 25 1819 in. (63.848.2 cm), Smithsonian American Art Museum, Gift of Tomás Ybarra-Frausto, 1995.50.23, © 1975 H. Gonzalez y Louie the Foot

Artwork Details

Title
Hasta La Victoria Siempre
Date
1975
Location
Not on view
Dimensions
image: 22 1814 14 in. (56.136.2 cm) sheet: 25 1819 in. (63.848.2 cm)
Copyright
© 1975 H. Gonzalez y Louie the Foot
Credit Line
Gift of Tomás Ybarra-Frausto
Mediums Description
screenprint on paper
Classifications
Subjects
  • Animal — bird — eagle
  • Portrait male — Montoya, Jose — full length
  • Object — other — flag
  • Object — musical instrument — horn
Object Number
1995.50.23

Artwork Description

The González brothers' Hasta La Victoria Siempre combines eye-catching design, poetry, and international politics. The silhouetted figure holding a United Farm Workers flag quickly conveys support for the union. Typewritten letters in the background form "Viva la Huelga" (long live the strike), a rallying cry at UFW strikes, and "Viva la mañana" (long live tomorrow). Taking its title from a phrase associated with Che Guevara and the Cuban Revolution, the poster also functions as a concrete poem that elevates farmworkers' rights to an international struggle.


¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now, 2020


Description in Spanish

La obra de los hermanos González, Hasta la victoria siempre combina el diseño atractivo, la poesía y la política internacional. La silueta de una persona que sujeta una bandera de la Unión de Campesinos de inmediato expresa apoyo para el Sindicato. Las letras escritas a máquina en el fondo forman las oraciones Viva la huelga”, un grito de guerra en las huelgas de la UFW y Viva el mañana”. Con este título, tomado de una frase asociada con Che Guevara y la Revolución Cubana, el cartel funciona también como un poema concreto que eleva los derechos de los campesinos hasta el nivel de una lucha internacional.

¡Imprimir la revolución! Auge e impacto de las obras gráficas chicanas, desde 1965 hasta hoy, 2020

Works by this artist (3 items)

Edward Kienholz, Untitled, n.d., encaustic on fiberboard, Smithsonian American Art Museum, Gift of Patricia Colleen McCall, 1982.125
Untitled
Daten.d.
encaustic on fiberboard
Not on view
Edward Kienholz, Nancy Reddin Kienholz, Drawing for Sollie 17, 1980, mixed media construction, Smithsonian American Art Museum, Gift of G & W Investments, 2001.59A-D, © 1980, Nancy Reddin Kienholz
Drawing for Sollie 17
Date1980
mixed media construction
Not on view
Edward Kienholz, Nancy Reddin Kienholz, Sollie 17, 1979-1980, mixed media construction, Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2001.58, © 1980, Nancy Reddin Kienholz
Sollie 17
Date1979-1980
mixed media construction
Not on view

Exhibitions

Media - 2011.12 - SAAM-2011.12_1 - 77591
Our America: The Latino Presence in American Art
October 25, 2013March 2, 2014
Our America: The Latino Presence in American Art presents the rich and varied contributions of Latino artists in the United States since the mid-twentieth century, when the concept of a collective Latino identity began to emerge.

Related Posts

Close up detail of figure in red standing against a yellow background with text
Luis González’s Hasta La Victoria Siempre combines bold graphics and text in a powerful political poster designed to support the Chicano movement
Headshot of woman with black hair
Rebekah Mejorado
Public Relations Specialist

More Artworks from the Collection

Salvatore Mancini, Narragansett Electric, 2000, gelatin silver print, Smithsonian American Art Museum, Gift of Joseph A. Chazan, M.D., 2002.80.8
Narragansett Electric
Date2000
gelatin silver print
Not on view
Salvatore Mancini, Remains of Lock, Millville, 2000, gelatin silver print, Smithsonian American Art Museum, Gift of Joseph A. Chazan, M.D., 2002.80.6
Remains of Lock, Millville
Date2000
gelatin silver print
Not on view
Keisha Scarville, Chair, 2001, gelatin silver print, Smithsonian American Art Museum, Gift of the Perkins Center for the Arts, 2002.17, © 2001, Keisha Scarville
Chair
Date2001
gelatin silver print
Not on view
Salvatore Mancini, Eel Fisherman, 2000, gelatin silver print, Smithsonian American Art Museum, Gift of Joseph A. Chazan, M.D., 2002.80.2
Eel Fisherman
Date2000
gelatin silver print
Not on view