Хосе Клементе Ороско, мексиканский художник-панно читать ~5 мин.
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Хосе Клементе ОроскоБиография мексиканского художника-фрески в стиле социалистического реализма. MAIN AZ INDEX – AZ АРТИСТОВ
Hispano-America, Панель № 16 из«Эпоса об американской цивилизации (1932-34)», Дартмутский колледж, Нью-Гэмпшир. Шедеврв живописи 20 – го века.
СодержаниеБиография • Карьера в искусстве • Знаменитые фрески
МИРОВЫЕ ЛУЧШИЕ ХУДОЖНИКИ Лучшие художники-практики см.:Лучшие художники всех времен.Для лучшей аллегорической живописисм: Лучшие исторические художники.
биография
The classically trained painter Jose Clemente Orozco was one of three politically motivated modern artists who were famous for their large-scale Mexican murals – the others being Diego Rivera (1886-1957) and David Alfaro Siqueiros (1896-1974). Caught up, like the others, in the left-wing political activism of the period (c.1910-20), Orozco began his artistic career as a political cartoonist before turning to large-scale mural painting in the 1920s, joining the national arts campaign launched by the Mexican President Alvaro Obregon (1880-1928). However, while he is associated with socialist realism, unlike his two artist colleagues Orozco did not join the Communist Party, and adopted a more humanistic approach in his public art which reflected his worldwide humanitarian concerns as well as the universal themes of freedom and justice and the futility of war. This less political approach brings him closer to the Social Realism movement, as led by Ben Shahn, with whom Diego Rivera collaborated on at least one mural in America. He worked intermittently in the United States for much of his life, achieving significant recognition for his modern history painting The Epic of American Civilization at Dartmouth College, New Hampshire (1932-34). Other important works by Orozco include: The House of Tears (1912), Maternity and other murals (1923-24), Omniscience (1925), Prometheus (1930) and the Guadalajara fresco cycle (1936-39).
Art Career It was in the town of Guadalajara, where he spent most of his childhood, that Orozco first became interested in art. On his way to school he would pass the print shop of the graphic artist Jose Guadelupe Posada, who distributed satirical cartoons on political and social issues to the poor and illiterate.
Семья Ороско из буржуазного среднего класса не хотела, чтобы он изучал живопись , и вместо этого записала его в сельскохозяйственный колледж. Только после того, как научный эксперимент пошел не так, как надо, и он потерял левую руку, он наконец поступил в Академию изящных искусств Сан-Карлос в Мехико. Среди его учителей был доктор Герардо Атл, изучавший искусство эпохи Возрождения в Италии. Он должен был призвать мексиканское правительство спонсировать проекты общественных настенных росписей.
Ранние работы Ороско включали акварельную живопись , такую как серия под названием «Дом слез» (1912), о местных публичных домах и проститутках – для Ороско явный символ человеческой деградации. На них повлияли ранние рисунки и картины Пикассо на ту же тему. Уже будучи мастером рисования , Ороско также создал множество карикатур и карикатур, которые газеты печатали во время революции 1910 года.
In 1917 he paid his first visit to the United States. He worked as a sign painter in Los Angeles and San Francisco, then in a New York factory, painting the faces on dolls. Returning to Mexico City in 1920, he joined the emerging mural painting movement. In 1923-24, along with painters like Diego Rivera and David Alfaro Siqueiros, he helped create murals for the National Preparatory School. Mainly reworkings of traditional themes, the bold symbolic images used by the artists aroused protest; a group of conservative students defaced many of them. Two years later Orozco overpainted them, and the only original mural to survive intact is Maternity (1923-24).
Famous Murals In 1930 Orozco completed the Prometheus fresco painting at Pomona College in Claremont, California, and the four-wall mural cycle for the canteen of the New School of Social Research in New York. In 1932 he started work on the mural cycle for the Baker Library of Dartmouth College in Hanover, New Hampshire. It is his interpretation, in epic narrative terms, of the evolution of civilization in the United States from ancient migration to modern industrial man. Halfway through the Dartmouth murals, Orozco visited Europe, where he was overcome by the scale and power of Michelangelo’s Sistine Chapel frescos in Rome, as well as the brooding intensity of the paintings of El Greco in Toledo.
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