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The artistic eminence of José Clemente Orozco (1883–1949) is such that he has been called “the greatest painter the Americas have produced.” In his Autobiography he also attains literary distinction. He is a writer who recounts the history of his period from a personal point of view and yet scarcely mentions himself. He is an observer who writes about the history of his country and of his country’s art, yet makes his own character implicit in the narrative.The character that emerges is charming. It is that of a man strong but retiring, sharply critical of what he disapproves yet generous in praise of what he admires, decided in his views but modest in his assumptions and given to understatement in describing his own activities, averse to war and political struggle yet eager for conflict of ideas, always dedicated to the welfare of humanity.Through the details of day-by-day living, he presents the panorama of the Mexican Revolution and of events in other parts of the world to which he traveled. His is a personal story of the Revolution, giving his reactions (as those of any common man) to the barbarities of war: “Insolent leaders, inflamed with alcohol, taking whatever they wanted at pistol point. . . . By night in dark streets the sound of gunplay, followed by screams, blasphemies, and vile insults. Breaking windows, sharp blows, cries of pain, and shots again.”Orozco’s ability, as a painter, to see the details and to sense the mood of a place is apparent in his word pictures of the places he visited: “After six in the evening Paris is an immense brothel.” “London was like the seat of a noble family which had been exceedingly rich but had lost its fortune.” “Old, old Montmartre [is] a moldering cadaver . . .”Orozco also makes some penetrating observations on art itself. Although he emphasizes individuality and freedom from tradition in art, he abhors unschooled art, especially such extremes as primitive Impressionism and other groups that lack instruction in the general principles of art, in technique, in theory of color, in perspective. He says ironically of the artistically uneducated: “Blessed are the ignorant and the imbecile, for theirs is the supreme glory of art! Blessed are the idiots and the cretins, for masterpieces of painting shall issue from their hands!” Orozco believes in education, not only for the artists but for their public. Taste in art can come only through understanding of the purpose and the techniques of art—through knowledge. Without training, public taste “mostly likes sugar, honey, and candy. Diabetic art. The greater the amount of sugar, the greater the—commercial—success.”


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José Clemente Orozco: An Autobiography (Texas Pan American)

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José Clemente Orozco: An Autobiography (Texas Pan American ~ José Clemente Orozco: An Autobiography (Texas Pan American) - Kindle edition by Orozco, Jose Clemente, Leeper, John Palmer, Stephenson, Robert C.. Download it once and read it on your Kindle device, PC, phones or tablets. Use features like bookmarks, note taking and highlighting while reading José Clemente Orozco: An Autobiography (Texas Pan American).

José Clemente Orozco: An Autobiography: Orozco, José ~ The artistic eminence of José Clemente Orozco (1883–1949) is such that he has been called “the greatest painter the Americas have produced.” In his Autobiography he also attains literary distinction. He is a writer who recounts the history of his period from a personal point of view and yet scarcely mentions himself. He is an observer .

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José Clemente Orozco: An Autobiography by José Clemente ~ José Clemente Orozco: An Autobiography 194. by José Clemente Orozco, Robert C. Stephenson (Translator) , John Palmer Leeper (Introduction) Paperback (New Edition) $ 19.95. Paperback. $19.95. NOOK Book. $11.99. View All Available Formats & Editions. Ship This Item — Qualifies for Free Shipping Buy Online, Pick up in Store is currently unavailable, but this item may be available for in-store .

José Clemente Orozco - Wikipedia ~ José Clemente Orozco (November 23, 1883 – September 7, 1949) was a Mexican caricaturist and painter, who specialized in political murals that established the Mexican Mural Renaissance together with murals by Diego Rivera, David Alfaro Siqueiros, and others.Orozco was the most complex of the Mexican muralists, fond of the theme of human suffering, but less realistic and more fascinated by .

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Orozco's American Epic: Myth, History, and the Melancholy ~ Between 1932 and 1934, José Clemente Orozco painted the twenty-four-panel mural cycle entitled The Epic of American Civilization in Dartmouth College's Baker-Berry Library. An artifact of Orozco's migration from Mexico to the United States, the Epic represents a turning point in his career, standing as the only fresco in which he explores both US-American and Mexican narratives of national .

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Pancho Villa - Movie, Death & Mexican Revolution - Biography ~ José Clemente Orozco was a painter who helped lead the revival of Mexican mural painting in the 1920s. His works are complex and often tragic. His works are complex and often tragic. (1883–1949)

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José Vasconcelos - Wikipedia ~ José Vasconcelos Calderón (28 February 1882 – 30 June 1959), called the "cultural caudillo" of the Mexican Revolution, was an important Mexican writer, philosopher, and politician. He is one of the most influential and controversial personalities in the development of modern Mexico. His philosophy of the "cosmic race" affected all aspects of Mexican sociocultural, political, and economic .

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Oswaldo Guayasamín - Wikipedia ~ Guayasamín met Jose Clemente Orozco while traveling in the United States of America and Mexico from 1942 to 1943. They traveled together to many of the diverse countries in South America. They visited Peru, Brazil, Chile, Argentina, Uruguay, and other countries. Through these travels, he observed more of the indigenous lifestyle and poverty that appeared in his paintings.

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