Mexican modernism and the role of the muralists

The 20th century was characterized by significant conflicts and profound upheavals worldwide. Mexico in particular experienced a phase of fundamental changes that were initiated by the 1910 great revolution.

In the first half of the 20th century, Mexico's art scene a radical transformation that caused a sensation worldwide. Driven by a new cultural identity Mexican modernism manifested itself through impressive wall paintings ( Murales ), which transmitted a profound political and social message.

These muralists , led by artists such as Diego Rivera , José Clemente Orozco and David Alfaro Siqueiros , not only shaped Mexico's art scene, but also left their mark worldwide.

Your works of art should represent selected aspects of Mexican history, specific traditions and the cultural diversity of the country and at the same time address exploitation by European powers and the associated social problems. In addition, you should give a hopeful view of the future.

Development of Mexican modernism

After the Mexican Revolution (1910-1920), a strong need for national unity and identity arose. The art movement of modernism was part of this national renewal. ”

Art was promoted under the government of Álvaro Obregóns and especially by the Minister of Education José Vasconcelos to form and integrate the Mexican population.

Mexican modernism represents a significant artistic current that blossomed in Mexico in the early 1920s after the Mexican Revolution (1910-1920). The establishment of a new constitutional republic in 1917, which focused on land reforms and the guarantee of basic human rights for all Mexicans, was a central result of this revolution. This progress led to a decisive effort to promote social equality and access to economic and educational opportunities.

In this context, the new government initiated a comprehensive cultural change with the aim of strengthening the unity of the Mexican people and promoting the striving for a clearly defined national identity. The artistic trend, which developed after the 1920s, was characterized by stylistic diversity and had the endeavor to authentically map the rich Mexican culture and the national heritage.

Particularly noteworthy is the focus on the appreciation of the workers' and rural population as well as the indigenous communities and their pre-Spanish traditions.

In this dynamic artistic landscape, art pursued the goal of being instructive and clearly presenting the complex history of Mexico as well as the everyday life and the customs of its citizens. At the same time, it should reach and inspire the general public. By making this artistic narrative accessible to humans, she made a decisive contribution to the formation of consciousness about the rich historical and cultural heritage of Mexico.

The revolutionary aesthetics

In contrast to European modernism, which often focused on individual expressions, Mexican modernism was collective and socially oriented. The artists used large wall areas of public buildings to tell stories of the revolution, daily struggle and indigenous cultures.

The style was monumental, colorful and distinctive.

Muralism as a defining, popular art movement

Influenced by numerous pre -Spanish, modern Mexican and European styles, the so -called muralists developed a new, popular art direction that wanted to put an end to the prevailing academism at the time.

Art should no longer be reserved for a limited intellectual circle; Rather, it should be accessible to everyone and promote its socialization and political education. This didactic means of conveying specific content had already been very well received in antiquity among the Aztecs and Maya as well as in the colonial period by the Catholic Church in Spanish-America.

Muralism quickly developed into a central artistic means of expression of the post -revolutionary period in Mexico by impressively communicating the ideals of social and political change. Wall paintings were not only created in order to be accessible and visible to the general public, but also to fulfill an educational function.

In their visual representations, they combined allegories that are deeply rooted in Mexican history. This art form looks back on a long tradition: already in the pre -Spanish era, with civilizations such as the Olmeken, Maya and Teotihuacan, wall painting its expression and meant a tribute to the cultural heritage of Mexico.

Under the presidency of Álvaro Obregón (1920-1924), the government started a comprehensive program for public art. Artists were commissioned to create large -scale murals in public spaces in order to celebrate the national unity after the revolution and to promote a feeling of pride and cohesion.

José Vasconcelos, the then Minister of Education Mexico, played a crucial role in coordinating these orders. Artists such as Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros - who later became known as "Los Tres Grandes" - shaped the walls of public buildings with their impressive works and thus contributed to the realization of a unique visual language, which still has effect today.

In 1921, David Alfaro Siqueiros the Manifesto of the Plastic Artists of the Americas , in which he vehemently affirmed the newly emerging artistic style after the revolution. He emphasized the necessity for art to be the property of the people and a reflection of the histories of Mexico's indigenous population. Siqueiros called for a

Monumental and heroic art, human and public art ”,

which is based on the immediate and lively examples of our great masters as well as on the extraordinary cultures of the pre -Spanish America.

Between the 1920s and 1950s, wall painting developed into a style that not only contributed to creating a new Mexican identity, but also served as a source of inspiration for numerous other artistic currents that decisively shaped modern art in Mexico. These large -scale murals were extremely figurative and impressively develop their effects - as Orozco's study of a torso shows for the murals of the national preparation institution of 1926.

They also honored the history of Mexico and paid attention to the social conditions of the working class. They reflected on the traditions of the Mexican people and related their indigenous cultures to their Spanish colonial past. This dynamic interaction is later known as Mexicanidad or Mexican identity, deeply rooted in the indigenous and national heritage. The interest in the representation of Mexicanidad developed into a central aspect of the movement of Mexican modernism.

It can be summarized that the emergence of modernism in Mexico was significantly influenced by wall painting and continuously developed through various art forms and styles. From relay paintings to photography to figuration and abstraction as well as the integration of geometric patterns and the creation of fantastic landscapes - all of these genres and styles combined and defined a new artistic trend in Mexico, which was also rich and varied.

The Muralists: Ensemble Revolutionary Voices

The Muralists performed as the narrator of Mexican history. Her works were strongly influenced by the events of the revolution and social inequalities. They consciously use their art as a tool of social change.

Diego Rivera

Rivera is undoubtedly the best known of the Muralists. His works in the Escuela Nacional Preparatoria and at the National Palace in Mexico City are widely known. Rivera's style combines elements of European art with Mexican roots.

His Murales aim to strengthen the Mexican identity through representations of indigenous culture and revolutionary heroes.

The most famous works by Frida Kahlo and Diego Rivera - including Kahlos iconic self -portrait "Diego on My Mind" (1943), which urgently documents their deep connection with the famous artist, as well as "Autretrato con monos" (1943), in which the importance of monkeys is shown as symbols for innocence and freedom; and Rivera's masterful "authorRetrato" (1930) as well as the impressive "Retrato de Natasha Gelman" (1943) - not only reveal the rich art history of Mexico, but also the passionate dedication with which artists reflected social and political movements in times of the Mexican revolution (1910–1920) and in the following three decades.

These works invite you to understand the complex emotions and the cultural context that shaped this era.

José Clemente Orozco

Orozco, the darkest and most expressive of the three main muralists, often shows the tragedies of human life and the violence of the revolution in his work.

His work in the Hospicio Cabañas in Guadalajara is an impressive example of his uncompromising style.

David Alfaro Siqueiros

Siqueiros brings a particularly dynamic and technological perspective into the mural. He used new materials and techniques and was strongly inspired by socialism. His wall paintings often show scenes of the class struggle and revolutionary solidarity.

Important works of Muralismo and its influence

The work of the Muralists had not only a cultural, but also an elegant claim. They served as "textbooks" for the mostly illiterate population and made complex historical and social contexts accessible.

"The history of Mexico" in the National Palace, Mexico City

One of the most impressive works by Diego Rivera is the epic "The History of Mexico" in the National Palace. These Murales extend over several walls and show the entire history of Mexico, from indigenous culture to colonial times to the revolution.

Hospicio Cabañas, Guadalajara

The strongest work by José Clemente Orozco is undoubtedly his "La Prometeo series" in Hospicio Cabañas. These Murales show the ambivalence of progress and destruction and are a strong testimony to the social tensions of its time.

Polyforum Cultural Siqueiros, Mexico City

David Alfaro Siqueiros immortalized his vision in the Polyforum Cultural Siqueiros with "The Marcha de la Humanidad" , which is considered the largest mural in the world. This work combines political, social and futuristic elements in an impressive way.

Brief analysis of the social effects of the Murales

The Murales of the Mexican Muralists had a deep social effect on Mexican society and beyond. They were more than just works of art; They acted as a political and social medium, through which issues such as inequality, social justice and national identity were negotiated.

It is important to look at the social effects of the Murales in several key areas:

Education and consciousness

The Murales acted as publicly accessible "textbooks", which communicated historical and contemporary events as well as social problems. For many Mexicans, especially in rural areas that had no access to formal education, the murals were an important source of information.

The representation of the indigenous cultures and the narrative of the revolution helped the Murales to promote a collective awareness and national identity.

Political mobilization

By visually presenting important social and political issues, the Murales contributed to political mobilization. The public was encouraged by the works of art to deal with social injustices and to fight for changes.

Siqueiros, known for his socialist inclinations, used Murales as a means to call for solidarity and class struggle.

Social integration and inclusiveness

The Murales promoted the integration of various social and ethnic groups by recognizing and highlighting the diversity and contributions of indigenous cultures. Diego Rivera's works often emphasized the importance of the indigenous past of Mexico and put them in the context of modern, post-revolutionary nation.

By including various social groups, the Murales created a space for dialogue and inclusiveness.

Public space and democracy

The Murales made art accessible to everyone, regardless of social or economic background. In the period before mass media and the Internet, such an ubiquitous art form was revolutionary. They contributed to the democratization of public space and made important cultural and social messages visible and understandable.

International reception and influence

The wave of the muralists went far beyond Mexico. Their ideas influenced artists in the USA and Europe. In the 1930s, Rivera worked in Detroit and New York, where he created monumental works that addressed American industrial landscapes and industrial straces.

Diego Riveras Rockefeller Center wall picture

One of the most famous and controversial episodes of the Muralist movement was Diego Rivera's unfinished murals in the Rockefeller Center in New York. Rivera's "Man at the Crossroads" contained a portrait of Lenin, which led to the removal of the mural.

This event symbolized the collision between art and politics and emphasized the revolutionary strength of the Muralists.