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Josè Clemente Orozco
Transcript of Josè Clemente Orozco
uno He experienced the carnage and duplicity of the Mexican Revolution the hardship following the New York stock market crash in 1929 and rising fascism in Europe during his only trip there in 1932 This made Orozco emerge with an aesthetic and moral vision shown in his 20th century paintings. His experiences Dos Tres Cuatro About His Paintings Married to Margarita Valladares and had three children Hombre de Fuego The Man of Fire, seen above, represents artists as transcendent figures, rising above the chaos, violence and intrigue of the time. Most of his drawings are painted in using Symbolism Orozco became a pioneer of the public arts movement of the 1930s and 40s. Cinco An example of the pessimism of the 1930s, this mural depicts workers fighting amongst themselves to benefit only the rich and the powerful. The Rich Banquet while the Workers Fight Even though Orozco’s paintings might appear clownish but are really chilling. These clowns are painted in abstract colors, carrying banners. I kind of reminds us of Nazi Nuremburg rallies, and Soviet masses marching by the Kremlin. Sinister Clowns Orozco was trying to warn people not to blindly respond to calls of "patriotism" issued by those who very likely have ulterior motives and personal agendas. Nazi Gauleiter, Soviet Commissar, or Capitalist boss Orozco portrayed the true meaning of the brutal regimes of his time in this picture. A figure, whip clenched in his hand, stands over what appears to be a factory production line, surrounded by barbed wire.
Miguel Hidalgo This mural is of Miguel Hidalgo leading the Mexican revolution with torch in hand * but he also is a mexican social realist painter. Styles of Art He was a painter
a Muralist. The Epic of American Civilization Migration Ancient human sacrifice The Prophecy
Modern Migration of the Spirit && now :
His Paintings. (: Orozco represents in this panel the Latin-American peasant, self-sufficient and rebellious against imperialist oppression. He suggests here the "right to protest" something close to the heart of a free people. There is a close color kinship with the preceding panel, most obviously apparent in the heap of coin which reflects the gold of the wheat-field. This panel is complementary to the first panel, which shows the physical migration of the tribes in quest of the "Promised Land". Here a militant Christ-figure is shown. He has an axe in hand and his cross at his feet, symbolic of an aroused and aggressive spirituality. He stands against a great junk heap in which appear to be the destroyed symbols of all religions forms. The larger meaning of the destroyed war materials in the junk heap, represents the violence and hatred among men which is too often involed in the name of religion. Gods of the Modern World, Dartmouth mural
The panel is analogous to the fourth panel, depicting the gods of the ancient world who were displaced by Quetzalcoatl. Stillborn knowledge is shown being delivered from a skeleton parent This panel, symbolizing the white man's development of the resources of the continent, is an expressionistic interpretation of machinery. It depicts both constructive and destructive aspects of industrial development. These panels suggest that Quetzalcoatl, the white messiah of peace and understanding, has not yet returned, as the natives believed he was returning with the arrival of the conquering Europeans. "The Return of Quetzalcoatl" is still a prophecy The End (: Nacio en Novembre 23, 1883
Ciudad Guzman, Mexico Murio en Septembre 7, 1949
Mexico City, Mexico Vivio en los
Estados Unidos en 1927 hasta 1934. Background info