Word: orozco
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Dates: during 1960-1969
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Chandler, an ardent Black Power advocate, is a man with fire in his belly; but he chooses to channel it into art rather than arson. He says art can be as effective as destruction in bringing about social change, thereby allying himself with such potent practitioners as Orozco, Kollwitz, Grosz, and Shahn...
Heroes & Courtesans. Such turns of fortune are nothing new to Siqueiros, and no one seems less bothered about his politics than his fellow Mexicans. They hail him as the grand old man of the triumvirate (with Diego Rivera and José Clemente Orozco) that launched the Mexican mural renaissance in the 1920s and 1930s. Throughout Mexico, he is today known as "El Maestro," and no sooner had the ribbon been cut than hundreds of Mexicans, from art students to aging revolutionary veterans,, swarmed through Chapultepec Castle's drafty corridors to get an early view of his handiwork...
...exhibition confirms what Orozco himself maintained: that his best work was in his drawings and murals. He considered his oil paintings mediocre, turned them out mainly to make money. By contrast, when his heart was involved, he worked for a pittance. He got $4 a day while painting the 13,000-sq.-ft. ceiling mural in the Hospicio Cabanas at Guadalajara. Today this allegorical representation of the elements ranks as his masterpiece...
...Epitaph Written. In his day, Orozco was acclaimed for what were considered his uniquely Mexican qualities. He drew his subject matter from Aztec, Mayan and Toltec mythology, the history of the Spanish conquest and the 1910 Revolution. His colors are violent and rough, like those of the native Indian pottery and fabric designs. His figures are powerful, primordial and violent; their every thrust calls out for social justice...
...clear that Orozco's fame rests on more than subject matter. Though Orozco turned his back on the tradition of Paris, calling it a city "old, ruined, miserable-an immense brothel, a moldering cadaver," he shows by his extraordinary draftsmanship that he owed as much to his spiritual pilgrimage to Michelangelo's Sistine Chapel and El Greco's Toledo as he did to the allegiance of his Indian blood. The sketch (17½ in. by 22 in.) for one of the figures in Orozco's mural in the rotunda of the University at Guadalajara is more...