Adapted from Rochfort, Desmond. Mexican Muralists. San Francisco: Chronicle Books LLC, 1993. pages 6- 9.

The Big 3, David Alfaro Siqueiros, Jose Clemente Orozco, and Diego Rivera

Although some think that the failure of the Soviet Union created a new revolution in the world of art, three decades prior to that fall, Mexican painter David Alfaro Siqueiros made a proposal “declaring the coming of a new and revolutionary art in Mexico.” In his proposal, Siqueiros claimed that they would not accept art such as easel painting and other works of the sort because it was generally for the upper class, but the Syndicate of Technical Workers and Sculptors (a newly created artists’ trade union) would praise “monumental art in all its forms, because it is public property.” Siqueiros wanted art to change to be created only for the people, and not created just out of pure satisfaction for the artist.

“The artists’ murals could not be bought and sold, for they were created and commissioned as permanent fixtures in some of the most important public buildings of Mexico.” This movement changed art completely. Many of the artists were criticized because the works held so much public and hidden meaning.
(write GIST statement)

Jose Clemente Orozco said, “The highest, the most logical, the purest form of painting is the mural. It is, too, the most disinterested form, for it cannot be made a matter of private gain: it cannot be hidden away for the benefit of a certain privileged few. It is for the people. It is for ALL.”

Mexican muralist, Diego Rivera wrote that, “Mexican muralism had ‘for the first time in history of monumental painting ceased to use gods, kings, chiefs of state, heroic generals, etc. as central heroes… For the first time in the history of Art, Mexican mural painting made the masses the hero of monumental art.” In other words, the people were the center of focus. The works were for the people and created about issues regarding the people, the Mexican people.
(write GIST statement)

(Make final GIST statement)

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