- Mexican Muralism: A Critical Historyby Alejandro Anreus, Robin Greeley and Leonard Folgarait
- My Art, My Life: An AutobiographyOur Pickby Diego Rivera
- Frida Kahlo and Diego Rivera: Mexican Modern Artby Helga Prignitz-Polga
- Diego Rivera: The Detroit Industry MuralsOur PickBy Linda Bank Downs
- Mural Painting and Social Revolution in Mexico, 1920-1940Our PickBy Leonard Folgarait
Important Art and Artists of Mexican Muralism
The Creation was Diego Rivera's first government-commissioned mural painting, chosen for Mexico's oldest high school. Dr. Atl had originally been commissioned to paint the mural before the Revolution took place in 1910, and Rivera's work was both a continuation and advancement of the earlier artist's revolutionary ideas.
The unusual shape of the wall Rivera was commissioned to fill in part determined the artist's composition. The large niche in the middle contains a pipe organ, and Rivera painted the consequent arch with a number of figures to the left and right, with a symbolic image of God reigning over the narrow curve of the arch. The figures of Adam and Eve sitting at the bottom on each side are depicted as naked Mexicans, gazing up at allegorical depictions of the arts and virtues as well as Catholic saints. The admired figures have both the pale skin of Western figures and the darker skin of indigenous Mexican peoples. The message is one of a new cosmopolitan and racially harmonious Mexico rising into the post-revolution age through an assimilation of modern and indigenous ideals.
This mural represents a key moment in the Mexican Muralist movement. Rivera takes the tropes of Italian Renaissance fresco painting he discovered on his travels in Europe, and combines them with a distinctly Mexican aesthetic, joining old and new styles in a unique and highly influential way. Rivera later felt however that he had borrowed too much from the Italianate style and wanted to create an even more "Mexican" aesthetic in the future.
Although Fernando Leal did not gain the fame of the "big three" Mexican Muralists, he was one of the first artists approached to decorate the Escuela Nacional Preparatoria, because of his interest in depicting the local Mexican people. His mural is Post-Impressionist in style, influenced by depictions of non-Western people by artists such as Gaugin.
Los Danzates de Chalma depicts a moment Leal heard had recently occurred in a Mexican village. During a ritualistic dance to worship a statue of the Virgin Mary, the movement caused the statue to fall over in its case. This revealed another small statue of the native Mexican goddess of water, which had been hidden under the Catholic sculpture. For Leal, this demonstrated the current synthesis of Catholicism and local religion that was quintessential to the Mexican character. In presenting a Western religious rite as a scene of riotous movement and indigenous colors, Leal offered what the historian Dawn Ades describes as "a new, darker form of Indianism".
Leal was allowed to choose the spot for his mural in the school, and unusually he chose a section of wall above the central stairway. The space was geometrically awkward and dark but a prime example of Mexican Muralism's impetus to use the distinct characteristics of any given architecture as a blank slate outside the normal constraints of canvas, thus upending the hierarchies and traditional formats of art.
This mural was painted in the three-story courtyard of the Escuela Nacional Preparatoria, commissioned by the post-revolutionary government as part of their mural project for the school. In it, we see Orozco's characteristic caricature style, which was notably different to the Mexican-Italianate style being developed by Diego Rivera. Orozco borrowed this artistic technique from his years illustrating propaganda papers under the direction of Dr. Atl during the revolution. Jose Vasconcelos, who oversaw the mural project, recalled that Orozco was the "only painter who did not obey my orders and who painted what he wished."
The mural depicts a clear political message. The working classes, depicted at the bottom of the mural to represent their position at the bottom of the social order, are busy fighting amongst themselves, leaving the caricatured wealthy to enjoy their luxurious banquet. As Leonard Folgarait puts it, "the ridiculously grotesque distortion of the faces and bodies of the rich trio in the upper register is clearly intended to represent their decadence and abuses of power. They are able to frolic in this manner, not heeding any danger from the working class, because the workers are too busy fighting amongst themselves to pose any threat to their bosses." The workers are using their tools to attack one another in a self-destructive way, rather than using them to build up a better society. This is a vital early example of Mexican Muralist art being used to speak directly to the often-illiterate working classes, in an attempt to improve their conditions of living.