Word: orozco
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Dates: during 1930-1939
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...Neumann-Willard Gallery (24 carefully selected pieces) combined old art and new with almost no jolts. A 15th-Century Christ in the Temple failed to clash with Marc Chagall's pinkish fantasy, Flowers in a Dream, Max Beckmann's strong modern Landscape with Factory or Clemente Orozco's un-Orozcolike The "El" Station...
Free on bail in Mexico City last week was the fieriest Mexican muralist of them all, David Alfaro Siqueiros. In 1922, when he was a baby-faced revolutionist, Siqueiros organized and ran the famed Syndicate of masons and painters (Charlot, Orozco, Merida, Montenegro, de la Cueva, Rivera) who revived true fresco in America. Since the dispersal of that illustrious company, Sparkplug Siqueiros has led strikes in Mexico, preached socialist esthetics in Manhattan, fought in Spain as a colonel in the Loyalist Army. When he returned from the war last month he vowed to settle down and paint. Fortnight ago President...
...nineteenth century art, rather than a phenomenon which requires not only special knowledge but a rather unusual critical equipment for its comprehension or its appraisal. Few college graduates can say that they have given much time or much thought, in their fine arts courses, to Surrealism, the murals of Orozco, or the Federal Art Projects. Few scholars feel that these are fruitful subjects for scholarly investigation. In a publication which contains the results of scholarly research, I recently found, for the period between 1925 and 1930, forty-eight articles on mediaeval art, twenty-two on Renaissance and Baroque...
...fogs of publicity. Two years ago, bashful James Egleson, then 29, got permission to paint an anti-war mural on the walls of a good-sized lecture room in Swarthmore College. An engineer who turned to painting when his eyes began to fail, studied under Jose Clemente Orozco, Artist-Engineer Egleson kept the lecture room locked while he worked, breeding stories that conservative graduates were trying to have the murals suppressed...
...last week, the legends evaporated. Painted in true fresco† in warm and rich greys, browns and purples, the mural dramatized the productive and destructive possibilities of science with contrasting machines for war and peace, gears and shells, bombs and books, live workers and dead soldiers. Obviously inspired by Orozco, it differs from the Mexican's work in the technical exactitude with which Engineer Egleson painted factories and machinery, the sobriety of the human figures, wooden in comparison with Orozco's energetic and muscular people...