Jose в€љГ‰в€љГ– Clemente Orozco Modern Latin American - amazonia.fiocruz.br

Jose в€љГ‰в€љГ– Clemente Orozco Modern Latin American - that

Architecture in Mexico City in the midth century was shaped by rapid economic and urban growth, demographic change, new construction technologies, and politics. Architects adapted modernist idioms and those that evoked historical precedents for new purposes. As they had been since the s, public patrons were the most important clients of modern buildings, which often addressed needs for better housing, education, and health care. The period also saw the rise of modern suburbs and the evolution of the single-family house, as well as the creation of major buildings for increasingly important cultural institutions, especially museums. As they had in preceding decades, architects used the non-architectural arts, particularly painting, to distinguish their works. The legacy of the Mexican muralist movement was most evident on the facades of major buildings in the new University City, where the influence of international modernist planning principles was also striking. In Mexico City hosted the Olympics, for which architects, planners, and designers created a network of buildings and images that functioned interdependently to present Mexico as cosmopolitan and historically rooted in its indigenous history. Sprawl and pollution worsened in the s, as the capital came to be dominated by buildings that were not designed by architects. While some observers questioned the relevance of architecture in the face of seemingly unstoppable and uncontrollable growth, talented young architects responded with buildings notable for their monumentality, mass, and sophisticated engagement with historical types. Jose в€љГ‰в€љГ– Clemente Orozco Modern Latin American

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Orozco was the most complex of the Mexican muralistsfond of the theme of human suffering, but less realistic and more fascinated by machines than Rivera. Mostly influenced by Symbolismhe was also a genre painter and lithographer. He promoted the political causes of peasants and workers. He married Margarita Valladares, Clemdnte had three children.

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At the age of 21, Orozco lost his left hand while working with gunpowder to make fireworks. In his autobiography, Orozco confesses, "I would stop [on my way to and from school] and spend a few enchanted minutes in watching [Posada]… This was the push that first set my imagination in motion and impelled me to cover paper with my earliest little figures; this was my awakening to the existence of the art of painting. He worked as an illustrator for Mexico City newspapers and directly as an illustrator for one of the Constitutionalist armies overseen by "First Chief" Venustiano Carranza. With Diego Riverahe was a leader of the artist movement known as Mexican Muralism.

An important distinction he had from Rivera was his darker view of the Mexican Revolution. ALtin Rivera was a bold, optimistic figure, touting the glory of the revolution, Orozco was less comfortable with the bloody toll the social movement was taking. All three artists, as well as the painter Rufino Tamayoexperimented with fresco on large walls, and elevated the art of the mural.

Some of the murals were destroyed by Orozco himself, and later repainted. Others were vandalized by conservative students and practically destroyed. Thus, Orozco had to repaint many of them when he came back to the School in Inhe painted a mural at the Industrial School in OrizabaVeracruz.]