Word: orozco
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Gallerygoers saw a complete record of 2,000 years of Mexican art, from the artistic mud pies of the archaic Huaxtecs and Tarascans (500 B.C. to 500 A.D.) (see cut p. 58, top) to the latest paintings of Diego Rivera and Jose Clemente Orozco. From the Huaxtec mudwork (similar to that of today's Pueblo Indians) Mexico's artists graduated to the only finished stone-carving and temple-building of the Mayas and Toltecs. When, in 1521, the Aztec empire was destroyed by the Spanish Blitzkrieg, Mexico's artists turned from feathered serpents to waxworky saints, from...
...peons who, in 1910, were still making artistic mud pies, as they had 2,000 years ago; 2) a love of blood and entrails that showed in the sacrificial chopping blocks of the Aztecs and the gory Crucifixions of colonial times, the sluggings and bayoneting of Orozco's frescoes...
...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...