Word: orozco
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Dates: during 1950-1959
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Died. Edward Weston, 71, painstaking camera craftsman, one of the world's topflight creative photographers; of Parkinson's disease; in Carmel Highlands, Calif. At 37, Weston abandoned his Los Angeles portrait studio, moved to Mexico where he worked with Painters Diego Rivera and José Orozco, in 1926 returned to California, began a series of precise, sharply composed nature studies that made him famous, won (in 1937) the first Guggenheim fellowship ever given to a photographer. Weston used little equipment, almost never retouched or cropped his clear, spare negatives, cautiously refused until 1947 to use color film...
...Depression years he wrote three novels, "and just squeaked by." During World War II he rose to the Navy rank of lieutenant commander, took part in the Normandy invasion. After the war he learned museum work under the G.I. bill, has since organized major traveling shows of Orozco, John Marin, Jack Levine, Hyman Bloom, Charles Sheeler Morris Graves (and written monographs on them...
...world's largest mural" (4,500 sq. ft.) for the new Warsaw sports stadium, de lights in ridiculing contemporary Mexican art ists, including fellow Party Member Rivera. With the passage of time it seems that the least political and most impassioned of the three, Jose Clemente Orozco, who died in 1949, now stands the best chance of surviving the changing fortunes of time and fashion...
...both Siqueiros and Rivera in recent years have become "paintbrush and spray-gun pamphleteers." With only Indian-born Rufino Tamayo, 55, whose warm, semi-abstract paintings make him a big prizewinner outside Mexico, now strong enough to challenge the hold of the Big Three, Dr. Carillo still keeps Orozco at the top of his list as "the finest of all Mexican contemporary artists, the best in our hemisphere-surely one of our century's greatest draftsmen." Two paintings from Dr. Carillo's collection (opposite), now part of an exhibition touring Japan, show that though Orozco's fame...
...Orozco the great figures of what he called "The American Idea" were the enslaved Indian and peon, the conquerors like Cortez, the revolutionists Zapata and Padre Miguel Hidalgo. But Orozco alone of Mexico's Big Three took a hard second look at the world about him and had the courage to draw what he saw: the Marxist "liberator" in turn enslaving the revolutionaries, the Franciscan friar as the symbol of brotherly compassion. These views, plus his hatred of war and distrust of political panaceas, often brought his art into open conflict with the rhetoric of Rivera and the angry...