1. The Mexican Mural Movement
Los Tres Grandes:
Diego Rivera ( )
José Clemente Orozco ( )
David Alfaro Siqueiros ( )

2. Mexican Revolution 1910-1920 Jose Vasconcelos Minister of Education
Soldiers of
the Revolution
Emiliano Zapata ( )
Pancho Villa ( )

3. (left) Diego Rivera (Mexican ) The Architect, o/c, 1914 (right) Pablo Picasso, Three Musicians, o/c, 1921 Analytic Cubism
Diego Rivera, The Architect,

4. Diego Rivera, Woman at the Well, 1913

5. Diego Rivera, Zapatista Landscape – The Guerilla, 1915

6. Diego Rivera, Creation, , encaustic and gold leaf, Antiteatro Bolivar, Nat. Prep. School, Mexico City
Diego Rivera, Creation, , encaustic and gold leaf, Amphitheater Bolivar, National Preparatory School, Mexico City

7. Diego Rivera, Creation, , encaustic and gold leaf, Amphitheater Bolivar, National Preparatory School, Mexico City

8. Rivera, Creation, (right) early Renaissance Allegory of Good Government, fresco detail, Sienna, 1338, by Ambrigio Lorenzetti. Rivera had traveled to Italy in 1920 to study Italian Renaissance art

9. “Only why do the artists of this continent think that they should always assimilate the art of Europe? They should go to the other Americans for their enrichment, because if they copy Europe it will always be something they cannot feel because after all they are not Europeans.” Diego Rivera Pan-American Unity mural for San Francisco City College, 1940

10. Diagram of stone ball court relief from Chichen Itza At the invitation of Vasconcelos, Rivera traveled to Yucatán in 1921 to view the Maya pre-Conquest sites of Chichén Itza and Uxmal.

11. Maya Murals at Bonampak' (on border of Chiapas, Mexico, and Guatemala)
Maya Murals at Bonampak' (on border of Chiapas, Mexico, and Guatemala). This scene records the ascension of a new king in 790 AD, his reception by Mayan lords. Photos are from the complete replica at the National Museum of Anthropology and History in Mexico City

12. In 1927 Rivera traveled to the Soviet Union as a delegate from the Mexican Communist Party (joined in 1922) to attend the tenth anniversary of the Russian Revolution. Watercolor sketches for a mural in the Red Army Club, Moscow, which he never painted. Rivera’s communist views, like those of Orozco and Siqueiros, were independent of party doctrines.
Rivera, May Day Moscow, watercolor, 1928

13. Rivera at the Education Ministry, Mexico City,
Rivera, 1st floor Ministry of Ed, Mexico City
Rivera at the Education Ministry, Mexico City,
with one of his murals, Project began in
1922 and finished in 1928

14. Diego Rivera, The Protest, 1928, fresco, Nat. Prep. School, Mexico City
Rivera, (left) with Frida Kahlo, 1930, (right) In The Arsenal, 1928, fresco, detail, Mexico City Ministry of Education. Frida Kahlo, center, distributes arms. In the right hand side Tina Modotti holds an ammunition belt. Text on the red banner is from a corrido, a song of the agrarian revolution.

15. Compare (left) Rivera, In The Arsenal, fresco detail, Giotto, Mourning of Christ, c. 1305, fresco detail, Cappella dell'Arena, Padua

16. "Giotto was a propagandist of the spirit of Christianity, the weapon of the Franciscan monks of his time against feudal oppression, Bruegel [Flemish Northern Renaissance Painter, C ] was a propagandist of the struggle of the Dutch artisan petty bourgeoisie against feudal oppression. Every artist who has been worth anything has been a propagandist. . . I want to be a propagandist of Communism and I want to be it in all that I can think, in all that I can speak, in all that I can write, and in all that I can paint. I want to use my art as a weapon. . ."
The Revolutionary Spirit in Modern Art, Diego Rivera, 1932

17. Rivera, Wall Street Banquet, 1928, fresco, 2nd floor, Ministry of Education, MC

18. Diego Rivera. Death of the Capitalist. 1928. Fresco
Diego Rivera. Death of the Capitalist Fresco. South wall, Courtyard of the Fiestas, Ministry of Education, Mexico City, Mexico. “These works that call themselves revolutionary, and that in the cases of Rivera and Siqueiros expound a simple and Manichean [dualistic] Marxism, were commissioned, sponsored and paid for by a government that was never Marxist and ceased being revolutionary…this painting helped to give it a progressive and revolutionary face.” Octovio Paz
Diego Rivera, The Protest, 1928, fresco, Nat. Prep. School, Mexico City

19. Leon Trotsky, Diego Rivera, and French Surrealist writer,
Trotsky, Rivera, Breton
Leon Trotsky, Diego Rivera, and French Surrealist writer,
André Breton, in Coyoacán in 1938

20. Diego Rivera. The History of Mexico - The Ancient Indian World Fresco. North wall, National Palace, Mexico City, Mexico. The topic of this mural is the history of Mexico from the fall of Teotihuacan, about 900 BCE to the beginning of the presidency of Lázaro Cárdenas in 1935.

21. Diego Rivera, The History of Mexico. 1929-35. Fresco
Diego Rivera, The History of Mexico Fresco. West wall, detail of central arch, National Palace, Mexico City, Mexico

22. Diego Rivera. The History of Mexico. 1929-35. Fresco
Diego Rivera. The History of Mexico Fresco. West wall, left inner arch, National Palace, Mexico City, Mexico

23. Rivera, The History of Cuernavaca and Morelos,1929-30. Fresco
Rivera, The History of Cuernavaca and Morelos, Fresco. Cortez Palace, Cuernavaca, Mexico
Rivera, Palace of Cortes, overview

24. Cortez Palace, Cuernavaca, Mexico
Cortez Palace, Cuernavaca, Mexico. The Palace dates back from the colonial era, built in 1533, it served as the summer residence of Hernan Cortes

25. Rivera, The History of Cuernavaca and Morelos - The Enslavement of the Indian and Constructing the Cortez Palace. Detail Fresco. Cortez Palace, Cuernavaca, Mexico.

26. Diego Rivera, The History of Cuernavaca and Morelos - The Enslavement of the Indian and Constructing the Cortez Palace. (detail) Fresco. Cortez Palace, Cuernavaca, Mexico

27. Rivera, The History of Cuernavaca and Morelos: Crossing the Barranca (ravine) , fresco detail, Cortez Palace, Cuernavaca, Mexico.
Rivera, Palace of Cortes mural (detail)

28. Views of the Garden Court of the Detroit Institute of Art with Diego Rivera’s mural, Detroit Industry, and new water fountain, right.

29. North wall, Detroit Industry, fresco, 1932, gift of Edsel Ford
Rivera, Detroit Industry, , The Detroit Institute of Arts
North wall, Detroit Industry, fresco, 1932, gift of Edsel Ford

30. Detroit Industry, detail of North Wall showing laborers of all races working in unison for the good of industry.

31. "The yellow race represents the sand, because it is most numerous
"The yellow race represents the sand, because it is most numerous. And the red race, the first in this country, is like the iron ore, the first thing necessary for the steel. The black race is like coal, because it has a great native esthetic sense, a real flame of feeling and beauty in its ancient sculpture, its native rhythm and music. So its esthetic sense is like the fire, and its labor furnished the hardness which the carbon in the coal gives to steel. "The white race is like the lime, not only because it is white, but because lime is the organizing agent in the making of steel. It binds together the other elements and so you see the white race as the great organizer of the world." Rivera
Detroit murals south wall with figures representing the white race (top left) and Asian race (“like sand,” right).

32. Rivera’s enthusiasm for industry and machines as
Diego Rivera, Detroit Industry (south wall), , Detroit Institute of Arts
Rivera’s enthusiasm for industry and machines as
gods of the modern world is evident in allusions to
Aztec goddess, Coatlique

33. Julie Mehretu (Ethiopian, US-based painter, b
Julie Mehretu (Ethiopian, US-based painter, b. 1970) in front of Detroit Industry, November, Mehretu is a 2005 recipient of the MacArthur Fellowship (“Genius” award)

34. Julie Mehretu, Black City, ink and acrylic on canvas, 10X16ft Detroit Art Institute,

35. Rivera, Diego, A Dream of a Sunday Afternoon in Alameda Park, Fresco, Alameda Hotel, Mexico City. Now located in the Diego Rivera Museum

36. Diego Rivera, Dream of a Sunday Afternoon in Alameda Park, 1948, fresco, Museo Mural Diego Rivera, Mexico City, Mexico
Current installation

37. Diego Rivera, Man, Controller of the Universe (detail) 1934, fresco, Museo del Palacio de Belas Artes, Mexico City (INBA)
Diego Rivera, Man, Controller of the Universe (detail) 1934, fresco, Museo del Palacio de Belas Artes, Mexico City. Recreation of destroyed Rockefeller Center Mural, NYC * Read Rafael Herrarias, “Diego Rivera’s Mural in the Palace of Fine Arts” (Frank)

38. Diego Rivera, Man, Controller of the Universe (detail with Lenin), 1933, fresco

39. Rivera, The Making of a Fresco Showing the Building of a City,
Diego Rivera, San Francisco Institute fresco, 1930
Rivera, The Making of a Fresco Showing the Building of a City,
1931, fresco, San Francisco Art Institute

40. Diego Rivera’s San Francisco Institute fresco
Diego Rivera San Francisco Institute fresco with Taylor
Diego Rivera’s San Francisco Institute fresco

41. Diego Rivera. Allegory of California, 1930-31. Fresco
Diego Rivera. Allegory of California, Fresco. Mural on wall and ceiling of main staircase between tenth and eleventh floors. Exchange's Luncheon Club/City Club, Pacific Stock Exchange Tower, San Francisco

42. Fall art auctions, This 1890 Vincent van Gogh landscape is expected to sell for $28 to $35 million

43. Diego Rivera, San Francisco City College fresco
Rivera, Pan-American Unity, 1940, fresco, City College of San Francisco, 5 panels

46. Rivera, Detail of Pan-American Unity, (the north) 1940
Diego Rivera, SF City College fresco detail
Rivera, Detail of Pan-American Unity, (the north) 1940

50. Rivera, Detail of Pan-American Unity, 1940, San Francisco City College

55. David Alfaro Siqueiros (Mexican Social Realist Muralist, ), Tropical America (detail) Oliveras Street, Los Angeles, 1932, Fresco applied with an air gun on cement, 19.7’ x  98.4'

56. Siqeiros at work on Tropical America mural during his expulsion from Mexico in 1932 for radical political militancy. Siqueiros came to Los Angeles for six months and created three murals.

57. Siqueiros’ Tropical America fresco in 1930

58. Siqueiros, New York City Experimental Workshop, 1936

59. David Alfaro Siqueiros, Echo of a Scream, 1937, enamel on wood, 48/36” NYC MoMA

60. David Alfaro Siqueiros, Collective Suicide (detail),1936, Enamel on wood with applied sections, 49" x 6‘, The Museum of Modern Art, New York.

61. Siqueiros, Revolutionary on a Horse, 1957 Fresco, Museo Nacional de Historia, Mexico City

62. David Alfaro Siqueiros, Don Porfirio & His Courtesans, 1957, fresco, Museo Nacional de Historia, Mexico City (INAH)
David Alfaro Siqueiros, Don Porfirio & His Courtesans, 1957, fresco, Museo Nacional de Historia, Mexico City

63. José Clemente Orozco (Mexico, 1883-1949) The Franciscan and the Indian, 1930, lithograph, NYC MoMA
Jose Clemente Orozco, The Franciscan, 1930, lithograph, NYC MoMA

64. Jose Clemente Orozco The Expulsion of Quetzalcoatl (detail), fresco, of The Epic of American Civilization, , mural cycle of 24 massive panels on the walls of the ground floor in the Baker Library reserve reading room, Dartmouth College, Hanover, New Hampshire. 150 feet (right top and bottom) Orozco at work on the north and west walls

65. Orozco, The Expulsion of Quetzalcoatl (detail), American Civilization
Quetzalcoatl in human
form, Codex Borbonicus
Jose Clemente Orozco, The Expulsion of Quetzalcoatl (detail), fresco, Dartmouth,
Orozco, The Expulsion of Quetzalcoatl (detail), American Civilization
Fresco panel, Dartmouth College Library, New Hampshire
Quetzalcoatl points toward his prophecy

66. Expulsion of Quetzalcoatl (who points to his prophecy)
Golden age II
Expulsion of Quetzalcoatl
(who points to his prophecy)
Prophecy

67. Orozco, panels 1 (Migration), 2 (Aztec Warriors), and 5 (Golden Age under rule of Quezalcoatl) from Epic of American Civilization,

68. Epic of American Civilization: The Modern World
Orozco was a dialectical thinker, not Manichean like Siqueiros and Rivera, but did he truly reject the idea of painting as propaganda as claimed? Orozco: “A painting should not be a commentary but the thing itself; not a reflection but light itself; not an interpretation but a thing to be interpreted.” (quoted by Ades)
Epic of American Civilization: The Modern World

69. Orozco, The Modern Migration of the Spirit, 1933, one of 24 fresco panels, Dartmouth Library mural, The Epic of American Civilization, Militant Christ = an aroused and aggressive spirituality.

70. Both Pre-Conquest and Modern American Gods sacrifice the individual.
Orozco, two panels from Dartmouth College Library fresco: (left) Ancient Human Sacrifice (right) Gods of the Modern World. Matriculated fetal skeletons = the deadening effect of the academy and the perpetuation of institutional authority over education at the service of society.
Both Pre-Conquest and Modern American Gods sacrifice the individual.
Orozco was against all ideology, religious or secular

71. Orozco, (left) Hispano-America (panel 16) and (right) Anglo-America (panel 15), American Civilization fresco panels, , Dartmouth College Library, New Hampshire How does the thesis of this mural compare with Rivera’s underlying thesis in Pan American Unity mural (1940) at San Francisco City College?
Jose Clemente Orozco, Hispanoamerica & Angloamerica, fresco, , Dartmouth, New Hampshire

72. “There are as many literary associations as spectators
“There are as many literary associations as spectators. One of them, when looking at a picture representing a scene of war, for example, may start thinking of murder, another of pacifism, another of anatomy, another of history, and so on. Consequently, to write a story and to say that it is actually TOLD by a painting is wrong and untrue.”
- Orozco “A Note from the Artist,” 1934

73. Orozco, Prometheus, fresco, 1930, Pomona College Dining Hall, Claremont, California. First mural in the United States by a Mexican muralist. Ceiling panel (top rectangle as shown here) measures 7 x 28.5 ft

74. Orozco in Pomona College Dining Hall, Claremont, California, c. 1930

75. Jose Clemente Orozco, Prometheus, 1930, tempera on masonite 61 cm, Museo de Arte Moderno, Mexico City. A version of the mural painted the same year for Pomona College, California
Jose Clemente Orozco, Prometheus, 1960, tempera on masonite 61 cm, Museo de Arte Moderno, Mexico City. A version of the mural painted the same year for Pomona College, California

76. José Clemente Orozco, Dive Bomber and Tank, 1940, fresco, six panels, each 9' x 36," overall 9 x 18‘ Painted before the public at MoMA NYC: “working as a clown in a circus.” “I simply paint the life that is going on at the present—what we are and what the world is at this moment. That is what modern art is.” - Orozco
See “Orozco Explains” in Patrick Frank, Readings in Latin American Modern Art

77. For 20-minute quiz next Monday, be prepared to compare Diego Rivera’s Pan-American Unity mural with Jose Clemente Orozco’s The Epic of American Civilization. Consider form and content, artists’ political attitudes, location (place and time), as well as patronage. Include all relevant readings from Frank and Ades.