Lecture #27 - Muralism at Mid-Century: Los Tres Grandes & Their Global Impact
Context: Mexican Culture at Mid-Century (Mid-20^{th}-Century)
• Mexico experiences an international cultural boom centred on cinema, fine art, music, and—most visibly—mural painting.
• Focus of this lecture: muralists, musicians, singers, cinema stars (remainder of unit will add the others).
Historical Roots of Mexican Muralism
• Pre-Columbian precedent: palaces & temples covered in narrative murals.
• Colonial period: Catholic clergy use church frescoes to catechise a largely illiterate Indigenous population.
• Post-Revolution (after 1920 \text{–} 1921): the new state (initially PRN → later PRI) revives the strategy—murals now teach modern Mexican history, nationalism, and social ideals to the poor majority.
Government-Led Programs & International Echoes
• Mexican initiative so effective that Franklin D. Roosevelt copies the model during the U.S. Great Depression.
– Federal Art Project (FAP) under the Works Progress/Projects Administration (WPA) founded 1935.
– Result: U.S. post offices & public buildings gain murals reminiscent of Mexican examples.
Ideological & Stylistic Foundations
• Core themes: mestizaje (mixed-race identity), glorification of Indigenous aesthetics, socialist/communist valorisation of labour, anti-capitalist critique.
• Principle: “Art for the people, not for profit.”
– Public buildings chosen so anyone—not just elites—can view the works.
• Result: content often depicts redistribution of wealth, worker heroism, historical struggle.
Los Tres Grandes (The Big Three)
Diego Rivera
José Clemente Orozco
David Alfaro Siqueiros
Diego Rivera (1886-1957)
• Background
– Talented prodigy; studies in Europe (esp. Italy) when Mexican Revolution erupts 1910.
– Absorbs Renaissance fresco craft + Cubism + European realism.
– Uses vivid palette to reference Indigenous textiles & ceramics; centres proletarian perspectives.
• Key Works & Sites
– "Creation / Creación" (1926, Bolívar Auditorium, National Preparatory School): considered first modern Mexican-muralist fresco. Allegory of human history; Christian iconography—left side virtues {\text{Love}, \text{Hope}, \text{Faith}}, right side {\text{Prudence}, \text{Justice}, \text{Strength}}; gold-leaf evokes Byzantine mosaics.
– "The History of Mexico" cycle (National Palace, open to public, free): vast panorama from Aztec origins (Tenochtitlan marketplace, Popocatépetl & Iztaccíhuatl in background) through the Revolution.
– Rockefeller Center Controversy: "Man at the Crossroads" (1933)
• Adds portrait of Vladimir Lenin after press calls mural “anti-capitalist propaganda.”
• Nelson Rockefeller halts work; mural destroyed winter 1934.
• Photos enable Rivera to repaint enlarged version "Man, Controller of the Universe" (1934) in Palacio de Bellas Artes, Mexico City.
◦ Satirical insert: John D. Rockefeller depicted with martini beneath magnified syphilis bacterium—visual "shade" at teetotaler Rockefeller.
– Coit Tower (San Francisco) panels: depicts industrial workers, agricultural scenes—major influence on California social realism.
• Significance
– Bridges Renaissance fresco technique with 20^{th}-century politics.
– International celebrity; spouse Frida Kahlo further elevates Mexican art worldwide (link to forthcoming lecture on female artists).
José Clemente Orozco (1883-1949)
• Distinctive Traits
– Only Big-Three member who actually fought in the Revolution; serves Constitutionalist faction under Carranza.
– Working-class origins; loses left arm at 17 in gunpowder accident.
– Early inspiration from printmaker José Guadalupe Posada (creator of "La Catrina").
– Studies at Academia de San Carlos; teachers doubt his draftsmanship—feeds rebellious style.
– Aesthetic: sombre palette, grotesque caricature, focus on human suffering & mechanised violence; sceptical of revolutionary romanticism.
• Major Murals
– "Prometheus" (Pomona College dining hall, 1930)
• First fresco by a Mexican muralist in the U.S.; regarded as first modern U.S. mural.
• Prometheus steals fire for humanity—metaphor for revolutionary knowledge; composition triggers shift from decorative landscapes to socially charged public art in California.
– Hospicio Cabañas (Guadalajara) cycle, 1937\text{–}1939
• 57 frescoes culminating in "El Hombre en Llamas / Man on Fire"—figure engulfed in flames, ambiguous whether rising or falling; allegory of humans consumed by their own mechanisation.
• Complex iconography earns UNESCO World Heritage status for the building.
• U.S. Work
– Also paints at Dartmouth College (NH) & New York City—extends Mexican influence northward.
David Alfaro Siqueiros (1896-1974)
• Biography & Politics
– Born José de Jesús Alfaro Siqueiros; adopts "David" after Michelangelo’s biblical hero.
– Age 13 when revolution erupts; joins military at 18 (Constitutionalist side vs. Huerta).
– Studies in Europe; most militantly communist of the trio—devout Stalinist.
– Participates in armed assault (~1940) on Leon Trotsky’s Coyoacán home (Trotsky ultimately killed months later by ice-axe, though not by Siqueiros).
– Multiple imprisonments & exiles; art inseparable from activism.
• Stylistic Innovations
– Dramatic foreshortening, rapid gestural brushwork, extreme diagonals.
– First to employ industrial spray-gun & airbrush on large exterior walls—precursor to aerosol graffiti culture.
• Landmark Works
– "Street Meeting" (Chouinard School, L.A., 1932): multiracial labour crowd around fiery speaker; whitewashed for political content, rediscovered 2005.
– "América Tropical: América Oprimida y Destruida por el Imperialismo" (Olvera St., Los Angeles, 1932)
• Exterior second-story wall of Italian Hall.
• Central image: Indigenous figure crucified beneath U.S. eagle—indictment of hemispheric imperialism.
• First large outdoor use of airbrush; forecast of street art.
• Whitewashed 1938; paint chips resurface during Chicano Movement, late 1960s.
• Getty Conservation Institute restores; public viewing platform opened 2018 (visual impact muted—faded outlines remain).
Comparative Overview & Legacy
• All three painted early commissions at National Preparatory School (Mexico City) yet diverged in tone:
– Rivera: celebratory, didactic, brightly coloured.
– Orozco: tragic, existential, expressionistic.
– Siqueiros: militant, technological, experimental.
• Collectively they:
– Cemented murals as vehicles for mass political education.
– Internationalised Mexican art; seeded New Deal art in U.S. & later Chicano mural renaissance.
– Expanded technical repertoire (true fresco, encaustic, airbrush, pyroxylin industrial paints).
– Affirmed mestizo & Indigenous identity as pillars of modern Mexican nationalism.
• Ethical/Philosophical Implications
– Debate over art’s purpose: public enlightenment vs. private commodity.
– Tension between revolutionary ideology and state patronage (government commissions sometimes at odds with radical content).
– Censorship & destruction (Rockefeller Center, Olvera St.) illustrate clash between capitalist sponsors & socialist imagery.
Practical Guide for Students & Travelers
• Free must-see Rivera: National Palace, Mexico City.
• Hard-to-access Rivera: "Creación" (Bolívar Auditorium—often private).
• Rivera in U.S.: Coit Tower (San Francisco).
• Essential Orozco: Hospicio Cabañas (Guadalajara) – UNESCO site.
• Orozco in U.S.: Prometheus, Pomona College.
• Siqueiros: Olvera Street viewing platform (manage expectations); upcoming L.A. sites include restored "Street Meeting."
Chronological Quick-Reference (Years in )
1910 – Outbreak of Mexican Revolution.
1920\text{–}1921 – Revolution ends; PRN/PRI commissions murals.
1926 – Rivera paints "Creación."
1930 – Orozco’s "Prometheus"; first Mexican fresco in U.S.
1932 – Siqueiros paints "Street Meeting" & "América Tropical."
1933 – Rivera begins "Man at the Crossroads" (Rockefeller Center).
1934 – Rockefeller mural destroyed; Rivera repaints version in Mexico City.
1935 – U.S. WPA-FAP takes Mexican model nationwide.
1937\text{–}1939 – Orozco completes Hospicio Cabañas cycle.
2005 – "Street Meeting" uncovered.
2018$$ – Getty opens restored "América Tropical" site.