Fe Y Arte

The highest, the most logical, the purest and strongest form of painting is the mural. Only in this way is one with the other arts - with all the others. It is the most selfless, because it can not be a matter of private profit, can not be hidden for the benefit of a privileged few. It is for the people. It's for everyone.

José Clemente Orozco was one of the creators who, in the fertile interwar made ​​Mexican pictorial art flourish thanks to their original creations, marked byartistic trends emerging across the Atlantic, in old Europe. Orozco collaborated access to modern aesthetic throughout Latin America, although the claim has only a relative value and should be considered the peculiar characteristics of the art he practiced, powerfully influenced, of course, by the educational vocation and encouraging informed political and social the work of the Mexican muralists. They engaged in carrying out a task of educating the masses, in order to encourage them to revolutionary awareness and national search for a visual language should direct, simple and powerful, without too many concessions to the avant-garde experimentalism.

One of his most notable works was the series of murals he did for the National Preparatory School on the conquest, colonization and the Mexican Revolution. From 1927-1934 he worked in the United States. Pomona College in California painted a mural with the theme of the Greek hero Prometheus. His murals for the Baker Library at Dartmouth College (1932-1934) staged American history with the series The arrival of Quetzalcoatl, The Return of Quetzalcoatl and Modern industrial man.

The second stage starts Orozco mural from his stay in the United States, in 1927. They made ​​three important murals. In New York, a city he visited for the second time, he went to work and display their art. He made drawings of scenes of the Revolution and a series of oil paintings, Queensboro Bridge, The Curbz, Winter, The Subway, which show the character and dehumanized maquitrista of the big city.

After three years of leaving Mexico, the art historian José Pijoan did manage to Orozco was invited to Pomona College in Claremont, California, and decorate the Fray Hall. Here he produced one of the most important reasons for his painting in the figure of Prometheus, the mythical hero who bravely takes over to deliver the divine fire to mortals. The central figure of Pomona College mural is a great nude: Prometheus winner that will help men to purify. This great figure is the starting point of this new phase of Orozco. With this painting is declared indifference, anxiety, love, joy, ie at the sight, few people understand the importance of having a fire.

In 1947 he exhibited at the Palace of Fine Arts. Back in Guadalajara is charged with painting the ceiling of the Legislature (1948-49). The theme developed is related to the Mexican revolutionary legislation and decree passed in this place Hidalgo the abolition of slavery. The central figure is Hidalgo, more serene and thoughtful than the palace stairs. With this latest work of muralist concludes its work. So close your cycle, which predominates rather than historical epic concerns the qualitative view of the human drama.

Orozco portrays the human condition in an apolitical, is concerned

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