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In Mexico in the early 1920s, a growing, collective social consciousness gave rise to a revolutionary furor focused on liberating the country's workers from harsh conditions and poverty. In 1921, Mexican artists Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros were all commissioned by the government to create educational paintings on the walls of public buildings. After that initial experience, they devoted themselves almost exclusively to painting these large-scale murals--forming the foundation of a movement that would last 50 years. The muralists' work took up the themes of society and revolution. Often the paintings depicted historical vignettes like the story of Cuernavaca and Morelos crossing the barranca, or Mexico's ancient Indians. They satirized contemporary society, created ideal visions of peaceful families, and built up dark, imposing industrial cityscapes then leveled them by depicting the debauchery and death of the capitalist industrialists.

The paintings themselves reflect diverse artistic influences--surrealism, cubism, and illustration, most notable among them.Their bold colors and strong imagery practically bound out of the 150 color plates in this book. Mexican muralist and scholar Desmond Rochfort lucidly traces the development of the movement to place the work in context and provides a solid history of each of the artists' social and artistic influences. This is an excellent overview of work that should appeal both to fans of the individual artists and Mexican art in general. --Jordana Moskowitz ... Read more

Reviews (4)

ONE OF THE BEST BOOKS I OWN!!
This is definitely one of the best books out there for anyone interested in Mexican art. Few books can inspire as much as this one, especially for people from Zapotlanejo, Jalisco. It's loaded with many pictures and chronicles the lives of these three muralistas and has in depth coverage of specific murals, i especially enjoyed the coverage on "History of Mexico" mural by Diego Rivera. This book is definitely worth the price and a great addition to any collection. Orale!

A Masterpiece!!
Rarely have I been as moved and inspired by an art book.

The work of Orozco, Diego and Siqueiros is required study for art students and art enthusiasts.

Thank you Dr. Rochfort for presenting their magnificent work within your brilliant historical analysis.

best outlook on the murilists of mexico and their beliefs
Shows a great variety of each artists pieces and movements through out their career.

very informative
outstanding full of historical views ... Read more

Book Description

José Clemente Orozco (1883–1949) was one of the three great Mexican muralists, along with Diego Rivera and David Alfaro Siqueiros, all of whom worked in the United States and had great influence on artists here. During his self-imposed exile in New York City (1927–34), Orozco painted two important murals—at the New School for Social Research in 1930–31 and a portable work for the Museum of Modern Art in 1940. He also made nineteen lithographs and produced countless drawings and easel paintings covering both Mexican and New York themes. He turned his anti-imperialist eye on the Mexican Revolution and peasant life as well as on the Gringo reality and alienating metropolitan world he encountered in New York. His bold, expressionistic work from this period has never before been analyzed in such detail.

The New York years represented a crossroads for Orozco as his revolutionary hope gave way to a pessimistic critique of modern society, while at the same time he vastly expanded his artistic vision. These years were critical in Orozco’s career as he found expression for his developing vision of a complex and turbulent world. ... Read more

Reviews (5)

Enjoyed reading it, lousy illustrations
Anreus' "Orozco in Gringoland" is a good read; clearly written with a profound understanding of context and a genuine love for the art itself. Even if one does not share the author's leftist methodology, the seriousness of his scholarship cannot be questioned.
The design of the book is terrible, so are the lousy illustrations, which are a diservice to the author's seriousness.
As a PhD candidate working on the art of Mexico and this very period, I must say that Anreus is a voice of clarity and unpretentiousness, one unfortunately missing from the Hood Museum catalogue of 2002.

Scholarly life and times
Author Alejandro Anreus produces a compelling look at the life and times of Jose Clemente Orozco during hisr stay in New York. The author points out the issues bothering Orozco, his resulting attitude and ultimitely his creative surges. Orozco, the lesser known of the "tres grandes"(three great) Mexican muralists is brought to life as the brilliant one armed artist in a foreign land. The book can be a little confusing at times as the time period, issues and art work created goes back and forth and there is somewhat of a lack of continuity. It helps to have some background information on the subject for clarity. As a single piece of analysis it is very good. The author draws upon various sources that came before his project. The book is good but like a dress shirt with too much starch it can be a bit much. Definitely on the scholarly side the book demands your attention and deserves to be read for what it is, an examination of Jose Clemente Orozcos years in New York. If you want an Orozco art book this is not for you, however there are plenty of oversized full color reproduction books available. This is a book to be read and enjoyed for it's scholarship.

Skim, don't buy.
This book is only useful because there has been so little published recently on Orozco's important work. The book is not fun to read (text needed some serious editing) and the illustrations (in black and white) look like they were scanned from photocopies--worthless. UNM is to be blamed for the terrible production values here. A book to skim, but not own.

Profiles the great Mexican muralist
Alejandro Anreus' Orozco In Gringoland (0-8263-2067-8, ...) profiles the great Mexican muralist and the years he spent in New York, focusing on the major projects done during the period. More general overviews provide casual focus; this in-depth profile is recommended for any who want a more detailed analysis of his works and achievements.

Finally, the Whole Picture!
Anreus' account of Orozco's New York years is clearly written and gives the reader insight into the complex thinking of the least known of the big three Mexican muralists. The author offers a thorough and well ordered analysis of Orozco's New York production (especially of the easel paintings and the works on paper), but the significance of his examination lies in his grasp of the social and political environment in which Orozco lived and worked, not only in Mexico, but in America and Europe as well. Anreus gives a vivid account of the period, Orozco's beliefs, how he acquired them, and how they influenced his work. While it is limited to a specific time and place and specific works, it discusses issues that clearly influenced Oroazco's work throughout his life. Anreus also gives us a look at a private side of Orozco, showing us a struggling artist who never wanted to compromise his work for popularity and who was highly critical (and obviously jealous) of his compatriots Rivera and Siqueiros for what he perceived as the wavering beliefs they exposed in their art, their pandering to popular taste and their image-building. Many of Anreus' sources have never before been published and so this book should be of crucial importance to scholars of the period. To the author's credit it is not another overworked, formal art historical analysis of a well-known artist. It is an interesting discussion of an artist who has been referred to ad nauseam, but whose life and work has never before been integrated to explain his particular style and iconography. ... Read more

Book Description

Instructive volume offers a wealth of insights about extraordinary artist's first inspirations; reflections on his life, on Mexico, on mural paintings; his relationships with other painters and experiences in the U.S., as well as a view of the gentle and retiring side of an artist with violent emotions and strong opinions. "... tautly drawn, corrosive and profound in content. ... well worth reading."--Aline Sarinen, The New York Times.
... Read more

Book Description

The complete North American work of one of Mexico's greatest muralists. Among the Mexican muralists working in this country during the 1920s and 1930s, including the giants Diego Rivera and David Alfaro Siqueiros, the paintings of José Clemente Orozco are arguably the strongest and most politically charged. This important and profusely illustrated volume is proof. From his first commission, Prometheus, at Pamona College and his highly political work at the New School for Social Research in New York to what some feel is his masterpiece, The Epic of American Civilization, at Dartmouth College, Orozco's stinging characterizations of hypocrisy, greed, and oppression challenged conventional conservative views, to such an extent that in certain instances demands were made for the destruction of his works. All of Orozco's North American work is presented here, with discussions on his life and influences as well as his place among the other Mexican artists and his impact on the exuberant art of the 1960s and 1970s. 250 illustrations, over half in color. ... Read more

Reviews (1)

Orozco's Disturbing Visions
This handsomely illustrated and designed catalogue is a welcome addition to the Orozco literature in the English language. The images provide a full picture of Orozco's extraordinary artistic activity in the USA from his graphic work, to the easel paintings, and the murals in California, New York and Dartmouth.

Most of the volume's 11 essays are solidly researched and well-written with plenty that is new and original to say. Stand outs among these are Rita Eder, Dawn Ades, Reyes Palma, Victor Sorell, Alicia Azuela, J. Bass and Cordero Reiman. Among the truly weak essays in the catalogue are Oles, Miliotes and principal exhibition curator González Mello. His contribution suffers from too much (dated)critical theory and not enough original thinking based on Orozco's works on their own terms. He also does not acknowledge the work of earlier authors like Cardoza y Aragón and Raquel Tibol.
Still, the catalogue is a necessary addition to the literature on Los Tres Grandes and I rate it highly. In the end, the illustrations of Orozco's troubled visions of the human condition during the first half of the past century are moving, powerful, simply extraordinary and more than justify the volume. ... Read more

Book Description

This digital document is an article from Proceso, published by CISA Comunicacion e Informacion, S.A. de C.V. on September 16, 2001. The length of the article is 2236 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Orozco en Nueva York.(Jos Clemente Orozco, pintor)(TT: Orozco in New York.)(TA: Jose Clemente Orozco, painter)
Author: Judith Amador Tello
Publication: Proceso (Magazine/Journal)
Date: September 16, 2001
Publisher: CISA Comunicacion e Informacion, S.A. de C.V.
Page: 76

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Book Description

This digital document is an article from Semana, published by Spanish Publications, Inc. on November 22, 2002. The length of the article is 793 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Cantos y cuentos de Orozco: educador y cantante, Jose Luis Orozco lleva con sus canciones un mensaje de paz y alegria a los ninos de todas las escuelas del pais, quienes cantan, bailan y aprenden a acercarse a la lectura por medio del canto. Una tradicion. (Musica para los ninos).
Author: Sindy M. Ortega
Publication: Semana (Magazine/Journal)
Date: November 22, 2002
Publisher: Spanish Publications, Inc.
Volume: 8Issue: 508Page: 14(1)

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Book Description

This digital document is an article from El Mensajero, published by Cardenas Publications on December 22, 2002. The length of the article is 868 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Cuentame un cuento. (Familia).(Jose Luis Orozco, cuentista y musico )(diseminacion de tradiciones latinoamericana en Estados Unidos )(Entrevista)
Author: Juliana Garcia Cornejo
Publication: El Mensajero (Magazine/Journal)
Date: December 22, 2002
Publisher: Cardenas Publications
Volume: 16Issue: 34Page: 8(1)

Article Type: Entrevista

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Book Description

This digital document is an article from Proceso, published by CISA Comunicacion e Informacion, S.A. de C.V. on April 25, 1999. The length of the article is 1167 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: 50 AOS SIN JOSE CLEMENTE OROZCO.(TT: 50 years since Jose Clemente Orozco is no longer with us.)
Author: Raquel Tibol
Publication: Proceso (Magazine/Journal)
Date: April 25, 1999
Publisher: CISA Comunicacion e Informacion, S.A. de C.V.
Page: 59

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Book Description

The fresco that José Clemente Orozco painted in 1930 at Pomona College in Claremont, California, was both the artist's first work in the United States and the first Mexican mural in this country. As such, the Prometheus is a landmark in the history of the Mexican mural movement and of the art of the 20th century.

The four scholarly essays in this volume, written over a period of 43 years, bear eloquent testimony to the undimmed power of the Prometheus to intrigue, provoke, and inspire. Celebrating the college's acquisition of 17 preparatory drawings for the mural from the artist's family, the book is lavishly illustrated with Orozco's work and that of his contemporaries. ... Read more

Reviews (1)

Epic and powerful art
I was a little put back wondering how so much could be written about one piece of art; then again we're talking a monumental groundbreaking piece, Promethius. At first drawn to the colorful photographs of this fantastic public display I was mesmerized with the brilliance of color, slashing strokes of genius revealing the at once creator and destroyer Promethius. Larger than life, in epic proportions this mammoth contribution was created by one of the three master muralists of Mexico, Jose Clemente Orozco. The other two muralists being Siquieros and Rivera who would later follow suit and create murals in the United States. The color and black and white pictures of Orozco's art, including some from Mexcio, is worth the price of the book by itself. The book features four rather scholarly essays written over a span of forty-three years. These essays are considered the most important analytical writings on Promethius by Orozco. The book details the origins of this book, the problems and the success in producing a complimentary publication to the major exhibition that came to the United States in 2001of which I was fortunate enough to witness.The aquisition of the original drawings was a struggle but eventually the family relinquished the ownership so that the originals could be with the mural in Pomona College. One of the interesting controversies regarding Promethius was the fact that everything was massive and in colossol proportions, the muscled male nude had everything except for his genitalia which was missing. Throughout it's reign over the dining hall at Pomona College, since 1930, students have had protests over this issue and it has even resulted in vandalism. In spite of the controversy restoration has taken place to guard and preserve the original integrity of the masterpiece for future generations. Anyway the essays are interesting and thought provoking. Many angles are discussed that deal with the social and historical relevence of Promethius and as to why Orozco chose him. The actual reproduced art work is an amazing demonstration of brilliance. Many of his other works are featured and discussed as well. The collection of studies for the murals are exceptional embryonic manifestations of the inner workings of creativity. I would highly recommend this book to anyone interested in the works of Jose Clemente Orozco. ... Read more

Book Description

This digital document is an article from Proceso, published by CISA Comunicacion e Informacion, S.A. de C.V. on April 28, 2002. The length of the article is 2116 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Orozco: pintor esot rico.(JosClemente Orozco)(TT: Orozco: esoteric painter.)(TA: Jose Clemente Orozco)
Author: Judith Amador Tello
Publication: Proceso (Magazine/Journal)
Date: April 28, 2002
Publisher: CISA Comunicacion e Informacion, S.A. de C.V.
Page: 62

Distributed by Thompson Gale ... Read more

Book Description

Mural Painting and Social Revolution in Mexico, 1920-1940 is the first full-length account of this major movement in the history of Modernism. Following the Revolution of 1910, Mexican society underwent a profound transformation in every sector of political and cultural life. Mexican artists participated in this social revolution during a vital two-decade period through public art programmes funded by the government and other institutions. Applying a social-historical methodology, Leonard Folgarait examines this phenomenon and focuses on the mural paintings of Diego Rivera, José Orozco, and David Siqueiros produced during this period. He provides an indepth analysis of the form and meaning of these mural cycles, while documenting the system of patronage, the critical connections between state policy and aesthetics, and the visual strategies devised by patrons and artists in order to maximise the impact of these propagandistic images. ... Read more