Mexico: Mexican Muralism (1900-1950)

GENERAL DESCRIPTION
The bourgeoning arts scene in Mexico during the first half of the 20th century is usually associated with the Mexican School of Painting and with muralism, its best-known movement. A realist practice promoted and supported by the Mexican government, muralism aimed to bring art closer to the people of Mexico. In turn, a large portion of the work produced between 1900 and 1950 used clear, direct political and social messages. Muralism reached its height during the early decades of last century and has been singled out as the driving force behind this prolific era.

The most visible artists during this era are known as Los Tres Grandes, or the “Big Three”: José Clemente Orozco, David Alfaro Siqueiros, and Diego Rivera. Despite the fact that they are often grouped together, they had distinct visual languages and subject matters. A diversity of themes and aesthetic continuity existed in Mexican art during this timeframe, and Mexican artists garnered international success in the wake of the 20th century. A number of artists overshadowed the “Big Three,” who over the last few decades have added Frida Kahlo to their ranks. Foreign artists were attracted to Mexico, and there was a strong influence of Mexican art abroad.

In the late 1930s, Mexico would become the hinge on which two hemispheres of the surrealist movement would fold. For European artists and writers fleeing the onslaught of World War II, Mexico was a site equipped to hold surrealist encounters with the nation’s natural environment and cultural past. André Breton, enchanted by the traditions and captivated by the abundant flora, fauna, and seemingly untamable nature of the country, declared Mexico “the surrealist place par excellence.” Many Mexican artists such as Frida Kahlo and María Izquierdo welcomed surrealist tenets into their lives and artistic practices as a way to negotiate their conflicting artistic, national, and for some, gender identities.
 
However, artists such as David Alfaro Siqueiros and Diego Rivera were deeply influenced by direct contact with European expressionists. They, and artists like them, refined their techniques and expanded their visual vocabularies abroad and returned to Mexico seeking to develop a new, nationalistic art movement. Social realism and the muralist movement were in full swing by the 1930s, and artists worked in a monumental scale to express political ideologies and social commentaries. This method of artistic production created a multidimensional aesthetic lens through which Mexico and the work of its artists can be viewed and interpreted today.
 
Artists of various nationalities worked in Mexico in the early 20th century. In many ways, these artists should be considered colleagues: they lived and worked in the same regions, drew inspiration from the same natural and cultural sources, relied on the same visual vocabulary, and sought to share the common values shared by many of Mexico’s indigenous cultures.

Adapted from
  • México 1900-1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant Garde, Gallery text [Introduction], 2017.
  • Tower Gallery: Latin American Art, Gallery text [Mexico: 1930s–1950s], 2017. 

NOTES
  • México 1900-1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant Garde
  • Tower Gallery: Latin American Art
  • Note: author may be either Erin Piñon or Sue Canterbury, or both.

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VIDEO ASSETS  

IMAGE ASSETS 

WEB RESOURCES 
  • Khan Academy~Learn more about Mexican muralism and David Alfaro Siqueiros, Diego Rivera, and José Clemente Orozco.
  • Khan Academy~Read more about Latin American art.
  • Khan Academy~Learn about modernism from 1850 to 1960.
  • Khan Academy~Read more about modernism and its legacy.
  • Khan Academy~View a video about art and identity and explore how artists like Frida Kahlo, Glenn Ligon, and Andy Warhol investigate and express ideas about identity in their work.
  • Khan Academy~Watch a video with Curator Chris Stephens as he explores art of the 1930s at the Tate.
  • Khan Academy~Watch a video with Curator Chris Stephens he explores art of the 1940s at the Tate.
  • Khan Academy~Watch a video with Curator Chris Stephens as he explores art of the 1950s at the Tate.

ARCHIVAL RESOURCES 

FUN FACTS 

TEACHING IDEAS 

RULES
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Category
rules_operator
OR
General Description
The bourgeoning arts scene in Mexico during the first half of the 20th century is usually associated with the Mexican School of Painting and with muralism, its best-known movement. A realist practice promoted and supported by the Mexican government, muralism aimed to bring art closer to the people of Mexico. In turn, a large portion of the work produced between 1900 and 1950 used clear, direct political and social messages. Muralism reached its height during the early decades of last century and has been singled out as the driving force behind this prolific era.

The most visible artists during this era are known as Los Tres Grandes, or the “Big Three”: José Clemente Orozco, David Alfaro Siqueiros, and Diego Rivera. Despite the fact that they are often grouped together, they had distinct visual languages and subject matters. A diversity of themes and aesthetic continuity existed in Mexican art during this timeframe, and Mexican artists garnered international success in the wake of the 20th century. A number of artists overshadowed the “Big Three,” who over the last few decades have added Frida Kahlo to their ranks. Foreign artists were attracted to Mexico, and there was a strong influence of Mexican art abroad.

In the late 1930s, Mexico would become the hinge on which two hemispheres of the surrealist movement would fold. For European artists and writers fleeing the onslaught of World War II, Mexico was a site equipped to hold surrealist encounters with the nation’s natural environment and cultural past. André Breton, enchanted by the traditions and captivated by the abundant flora, fauna, and seemingly untamable nature of the country, declared Mexico “the surrealist place par excellence.” Many Mexican artists such as Frida Kahlo and María Izquierdo welcomed surrealist tenets into their lives and artistic practices as a way to negotiate their conflicting artistic, national, and for some, gender identities.
 
However, artists such as David Alfaro Siqueiros and Diego Rivera were deeply influenced by direct contact with European expressionists. They, and artists like them, refined their techniques and expanded their visual vocabularies abroad and returned to Mexico seeking to develop a new, nationalistic art movement. Social realism and the muralist movement were in full swing by the 1930s, and artists worked in a monumental scale to express political ideologies and social commentaries. This method of artistic production created a multidimensional aesthetic lens through which Mexico and the work of its artists can be viewed and interpreted today.
 
Artists of various nationalities worked in Mexico in the early 20th century. In many ways, these artists should be considered colleagues: they lived and worked in the same regions, drew inspiration from the same natural and cultural sources, relied on the same visual vocabulary, and sought to share the common values shared by many of Mexico’s indigenous cultures.

Adapted from
  • México 1900-1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant Garde, Gallery text [Introduction], 2017.
  • Tower Gallery: Latin American Art, Gallery text [Mexico: 1930s–1950s], 2017. 

Fun Facts
 
Archival Resources
 
Web Resources
 
  • Khan Academy~Learn more about Mexican muralism and David Alfaro Siqueiros, Diego Rivera, and José Clemente Orozco.
  • Khan Academy~Read more about Latin American art.
  • Khan Academy~Learn about modernism from 1850 to 1960.
  • Khan Academy~Read more about modernism and its legacy.
  • Khan Academy~View a video about art and identity and explore how artists like Frida Kahlo, Glenn Ligon, and Andy Warhol investigate and express ideas about identity in their work.
  • Khan Academy~Watch a video with Curator Chris Stephens as he explores art of the 1930s at the Tate.
  • Khan Academy~Watch a video with Curator Chris Stephens he explores art of the 1940s at the Tate.
  • Khan Academy~Watch a video with Curator Chris Stephens as he explores art of the 1950s at the Tate.

Notes
  • México 1900-1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant Garde
  • Tower Gallery: Latin American Art
  • Note: author may be either Erin Piñon or Sue Canterbury, or both.

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tags
#draft
#completed
@Higgins
animals (Animalia kingdom): AAT: 300249395
%copyedited_Gail
Mexico (nation): TGN: 7005560
Pre-Columbian (American): AAT: 300016619
painting (visual works): AAT: 300033618
painting (image-making): AAT: 300054216
United States (nation): TGN: 7012149
landscapes (environments): AAT: 300008626
Surrealist (style or movement): AAT: 300021512
*Latin American Art
261688075: UMO
Realist (style): AAT: 300172861
painters (artists): AAT: 300025136
realism (artistic concept): AAT: 300056550
nature: AAT: 300179372
humans (homo sapiens species): AAT: 300265711
monumental: AAT: 300073760
identity: AAT: 300257052
culture: AAT: 300055768
flower (motif): AAT: 300375563
politics: AAT: 300055537
government (political concept): AAT: 300055499
governments (administrative bodies): AAT: 300386741
murals: AAT: 300182732
nationalism (ideology and attitude): AAT: 300055530
Mexican Muralist (movement): AAT: 300107850
expressionist (style): AAT: 300021502
political art: AAT: 300256621
sociology: AAT: 300054453
world wars: AAT: 300247280
natural: AAT: 300219527
human (culture): AAT: 300393250
population (demographics): AAT: 300055417
Rivera_Diego: ULAN: 500025126
Orozco_José Clemente: ULAN: 500012316
Siqueiros_David Alfaro: ULAN: 500008908
muralist (painter): AAT: 300025153
theme: AAT: 300195523
Kahlo_Frida: ULAN: 500030701
280539964: UMO
275432435: UMO
275433217: UMO
13312692: UMO
13312772: UMO
13312788: UMO
13313524: UMO
13313596: UMO
13313612: UMO
13313700: UMO
275432504: UMO
275432523: UMO
280539974: UMO
280540176: UMO
280540091: UMO
280540253: UMO
280540301: UMO
280540444: UMO
280540494: UMO
275432496: UMO
275432857: UMO
movement (historical concept): AAT: 300404180
280540206: UMO
Breton_André: ULAN: 500006225
13313772: UMO
13313788: UMO
275432608: UMO
275432997: UMO
280539986: UMO
280540010: UMO
280540020: UMO
13309796: UMO
13310024: UMO
13313284: UMO
13313492: UMO
13313588: UMO
13313692: UMO
13313716: UMO
13313756: UMO
13315785: UMO
275432870: UMO
275432888: UMO
275908096: UMO
275908106: UMO
Izquierdo_María: ULAN: 500125046
source file
time_and_place-0090.xml.nores