1. The Mexican Mural Renaissance and the United States Helen Delpar, Ch.4 “The Mexican Art Invasion”

2. Guadalajara, Restoration in 2002 of a 1923 Mural

3. Jose Vasconcelos

4. Orozco, Materinity, 1922-23

5. Rivera, Creation, 1922-23

6. Orozco, The Farewell, 1922-23

7. Orozco, The Trench, 1922-23

8. Orozco, The Family, 1922-23

9. Secretaria de Educacion Publica

13. Rivera, The Arsenal, 1923-26

14. Rivera, US Bankers Control Mexico, 1923-26

15. Rivera, Chapingo

16. Rivera, Chapel at Chapingo, 1926-27

17. Chapingo

18. Chapingo (Modotti)

19. Cortes Palace, Conquest, 1929-30

20. Rivera, Colonial Mexico

21. Rivera, Zapata,

22. Rivera, National Palace, 1929-32

25. Interpretations of the Mural Rennaissance Anita Brenner in Idols behind Altars (1929) Anita Brenner in Idols behind Altars (1929) Leonard Folgarait, in Mural Painting and Social Revolution in Mexico, 1920-40 Leonard Folgarait, in Mural Painting and Social Revolution in Mexico, 1920-40 Jean Charlot, in The Mexican Mural Renaissance: 1920-1925, Jean Charlot, in The Mexican Mural Renaissance: 1920-1925, Desmond Rochfort, Mexican Muralism Desmond Rochfort, Mexican Muralism,

26. Factors in the growth of the Muralist movement I) Existing traditions of “history painting” and muralism Stacie Widdifield, The Embodiment of the National in Late 19 th C Mexican painting, (1996) 2) Mexico’s Academic tradition 3) The Revolution Adolfo Best-Maugard Gerardo Murillo (Dr. Atl = Dr Water) Las Artes Populares de Mexico (1922) 4) Cosmopolitanism Diego Rivera Roberto Montenegro 5) US Market 6) Competition among the muralists

27. Rivera in New York, 1932

28. Thomas Hart Benson “I saw in the Mexican effort a profound and much-needed redirection of art towards its ancient humanistic foundations. The Mexican concern with publicly significant meanings and with the pageant of Mexican national life corresponded perfectly with what I had in mind for art in the United States. I also looked with envy on the opportunities given Mexican painters for public mural work.” “I saw in the Mexican effort a profound and much-needed redirection of art towards its ancient humanistic foundations. The Mexican concern with publicly significant meanings and with the pageant of Mexican national life corresponded perfectly with what I had in mind for art in the United States. I also looked with envy on the opportunities given Mexican painters for public mural work.”

29. US Promoters Rivera was promoted by Anita Brenner, Frances Toor and Walter Pach Orozco by Alma Reed.

30. David Siqueiros, Carved door, Casa Tezontle, Guadalajara, 1927

31. Rivera, The making of a Fresco, 1931

32. Rivera, Allegory of California, Pacific Stock Exchange, 1931

33. Diego Rivera in San Francisco Anthony W Lee, Painting on the Left Diego Rivera, Radical Politics, and San Francisco's Public Murals

34. Rivera, Detroit Institute of Art and Design, 1933

36. Rivera in Detroit Laurance P.Hurlburt, The Mexican Muralists in the U S Linda Banks Downs, The Detroit Industry Murals (1999)

37. Rivera, Man at the Crossroads

38. Orozco at Dartmouth College Jacquelynn Baas, “The Epic of American Civilization” Renato Gonzalez Mello & Diane Miliotes, eds., Jose Clemente Orozco in the United States, 1927-1934 pp.142-185

39. Orozco, Social Revolution, Orizaba Industrial School, 1926

40. Orozco, The Coming of Quetzalcoatl, 1932

41. Orozco, The Departure of Quetzalcoatl, 1932

42. Orozco, Cortes and the Cross, 1932

43. Orozco, Anglo America, 1932

44. Orozco, Hispano America, 1932

45. Orozco, Gods of the Modern World, 1932

46. Orozco, Modern Human Sacrifice, 1932

47. Orozco, Modern Migration of the Spirit, 1932