Word: orozco
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...Paris the fierce young captain stopped off in Manhattan and met José Clemente Orozco, who was painting toys in a factory. Siqueiros told Orozco he thought the subway was one of the loveliest things he had ever seen. Riding a hurtling Bronx express, they quarreled violently about it. When the train stopped, Orozco dashed out and disappeared into a blinding snowstorm. Siqueiros waited all night in the subway entrance, making occasional forays into the night, fearful that a great Mexican talent was freezing to death somewhere under the alien snow. Two days later Siqueiros learned that his angry friend...
Back in Mexico, in 1922, Siqueiros followed through with a manifesto which Orozco and Diego Rivera both signed, and which started the eruption of modern Mexican art. Its thesis: art is for social welfare, not private pleasure, and should therefore be large-scale and easy to understand. The three men formed the nucleus of a union-the Syndicate of Technical Workers, Painters and Sculptors-and negotiated contracts with an extraordinarily sympathetic and discerning government to paint murals at so much per square meter...
When they found time, the painters published a magazine-El Machete-to express their violent view of the world, and to print their drawings. "Orozco used to eat a priest for breakfast every morning," says Siqueiros. "He drew some very powerful anti-church cartoons for us. . . . Once I met a tough old lady warrior who had been a colonel in Zapata's army. She was also anticlerical so I brought her around to meet Orozco. Foolishly, I left them alone for a couple of minutes. When I came back she had Orozco by the hair and he was kicking...
...Came Poetry. He and the hotel architect had agreed that his theme should be "Sunday in the Alameda" (the city's finest park, opposite the Prado). But Rivera, like his fellow triumvirs of Mexican art, Siqueiros and Orozco, was no man to waste a big hunk of wall on a merely pastoral theme. He had crammed his picture of the Alameda with the villains and heroes, the blood and dreams, of Mexican history. Said he: "Every one of the 148 figures in this mural I have known personally. I've shaken hands with most of them...
Wedge workers are aggressively nonpolitical. They think that Mexico's Big Three (Orozco, Siqueiros and Rivera) put too much propaganda into their work. Art, according to the Wedge, should concern itself with "misery, mercy, and feelings coming out of people's entrails...