- 1917 mexico- revolutions?
-cultural renaissance, mural program sponsored by state
-create new art & cultural identity- celebrate precolonial/prehispanic cultural origins/past
-celebrated mexican people & heroes
-anti-capitalist
-tension btwn socialist ideals of artists vs. american capitalists
-larger goal of story telling- inspirational & propagandistic
-taught american students how to do murals, how to spray paint, taught techniques
-how to create art that's independent/vanguard/cutting edge/progressive but also populist -->
-how to create art that's independent/vanguard/cutting edge/progressive but also populist -->
looked at western art for inspiration- frescoes
tried to adapt historic aesthetics to their cultural concerns
paintings were:
action packed
crowded
detailed
clarity of rendering
graphic quality
major figures:
jose clemente orozco
david alfaro siqueiros
diego rivera
mexican artists in the united states (reading):
-revolutionary/socially concerned artists- diego rivera, jose clemente orozco, david alfaro siqueiros
-introduced new mural techniques, styles for architectural settings, vigorous revolutionary content
-exemplified way artists could be heroic, outspoken, & political activists
-revived renaissance mural techniques
-siqueiros = communist party member
-rivera = individualistic marxism, thrown out of communist party
-orozco = anticapitalist
-siqueiros established workshop using industrial materials & commercial paints
pollock studied w him
-frida kahlo: important role model for feminists, "the personal is the political"
the radio city mural- diego rivera:
-helped spearhead mexican fresco mural movement w focus on mexican history & life
-stopped work on radio city mural at rockefeller center
rockefeller agents paid him & ordered him off the premises
problem w painting of lenin on public building
-he was at full liberty to paint what he saw fit:
man at crossroads, looking w uncertainty but w hope to better world
-his interpretation: crossroads w left (socialist world) & right (capitalism)
the revolutionary spirit in modern art- diego rivera:
-art as useful weapon for asserting social content of the work
-there is bourgeois art, revolutionary art, peasant art, etc.
-no proletarian art: can't produce class art until reaches highest point of development
proletariat art will be after all class differences are gone & there's a classless society -->
won't be proletarian art but communist art
-daumier & courbet = revolutionary spirits in spite of bourgeois environment
daumier: drew through class-conscious eyes; connection w life & labor
-social struggle = richest, most intense, most plastic subject an artist can choose
-does not believe in art for art's sake --> "pure" art is appreciated only by a few "superior" persons
limits possessors of art, makes art a stock exchange commodity manufactured by artist
-revolutionary art is easily understood by workers & peasants of all land
-by collaboration of artists coming out of proletariat & sympathetic artists, there should be an art that's superior to bourgeoisie art in every way
-soviet union takes best technical development & machinery of bourgeoisie & adapts it to needs & conditions of proletarian regime- should do the same in art
-proletariat art has to be warm & clear & strong
need for an art that is full of content & clear & forthright as theory of proletarian revolution
-"you are not modern enough to be artists in the proletarian revolution"
-mural art is the most significant art for the proletariat
-guerilla fighter: does what he can, action is always w/in the revolutionary line
-cezanne used workers & peasants as heroes & central figures of his paintings
-bourgeois art will cease when that class is gone
-most significant movement in art to the revolutionary movement is super-realism
-no painting can reach highest development or be truly revolutionary unless truly communist
-all painters are propagandists
paintings were:
action packed
crowded
detailed
clarity of rendering
graphic quality
major figures:
jose clemente orozco
david alfaro siqueiros
diego rivera
- siqueiros & orozco founded a school after the revolution
 |
| prometheus- jose clemente orozco 1930 one of the first murals painted by mexican artist in united states monumental, muscular figure- classical greek influences? fire= wisdom & enlightenment |
 |
| portrait of the bourgeoisie- siqueiros 1939-40 mexican electrician's syndicate action packed radical transformations of scale suggests conflict btwn facsism & capitalism (both seen as evil economic & political systems) that only generates endless war temple, that represents freedom, in flames |
 |
| america tropical- siqueiros 1932 controversial crucified body read as indigenous person |
 |
| judy baca & the great wall of los angeles (project) 1974- present history of chicano art & culture |
 |
| flower day- diego rivera 1925 indigenous worker selling lilies somewhat influenced by picasso mexican subject matter first of diego rivera's paintings to enter museum/exhibition (?) in U.S. |
 |
| man at the crossroads looking w hope & high vision to the choosing of a better future- rivera 1933 painted lenin in mural- american capitalists enraged --> scandal --> mural halted & destroyed |
-revolutionary/socially concerned artists- diego rivera, jose clemente orozco, david alfaro siqueiros
-introduced new mural techniques, styles for architectural settings, vigorous revolutionary content
-exemplified way artists could be heroic, outspoken, & political activists
-revived renaissance mural techniques
-siqueiros = communist party member
-rivera = individualistic marxism, thrown out of communist party
-orozco = anticapitalist
-siqueiros established workshop using industrial materials & commercial paints
pollock studied w him
-frida kahlo: important role model for feminists, "the personal is the political"
the radio city mural- diego rivera:
-helped spearhead mexican fresco mural movement w focus on mexican history & life
-stopped work on radio city mural at rockefeller center
rockefeller agents paid him & ordered him off the premises
problem w painting of lenin on public building
-he was at full liberty to paint what he saw fit:
man at crossroads, looking w uncertainty but w hope to better world
-his interpretation: crossroads w left (socialist world) & right (capitalism)
the revolutionary spirit in modern art- diego rivera:
-art as useful weapon for asserting social content of the work
-there is bourgeois art, revolutionary art, peasant art, etc.
-no proletarian art: can't produce class art until reaches highest point of development
proletariat art will be after all class differences are gone & there's a classless society -->
won't be proletarian art but communist art
-daumier & courbet = revolutionary spirits in spite of bourgeois environment
daumier: drew through class-conscious eyes; connection w life & labor
-social struggle = richest, most intense, most plastic subject an artist can choose
-does not believe in art for art's sake --> "pure" art is appreciated only by a few "superior" persons
limits possessors of art, makes art a stock exchange commodity manufactured by artist
-revolutionary art is easily understood by workers & peasants of all land
-by collaboration of artists coming out of proletariat & sympathetic artists, there should be an art that's superior to bourgeoisie art in every way
-soviet union takes best technical development & machinery of bourgeoisie & adapts it to needs & conditions of proletarian regime- should do the same in art
-proletariat art has to be warm & clear & strong
need for an art that is full of content & clear & forthright as theory of proletarian revolution
-"you are not modern enough to be artists in the proletarian revolution"
-mural art is the most significant art for the proletariat
-guerilla fighter: does what he can, action is always w/in the revolutionary line
-cezanne used workers & peasants as heroes & central figures of his paintings
-bourgeois art will cease when that class is gone
-most significant movement in art to the revolutionary movement is super-realism
-no painting can reach highest development or be truly revolutionary unless truly communist
-all painters are propagandists
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