GESM midterm murals

Frida Kahlo My dress hangs there (1933)

Against capitalist society Her dress is brightly colored, front and center Kahlo wanted to go back to Mexico

David Alfaro Siqueiros, The Torment of Cuauhtemoc

Burning cuauhtemoc trying to get information out of him Depiction of Cuauhtemoc's torture by the Spanish Clear struggle of the oppressed "Protection of those whom are oppressed" Not exclusive to Mexican history or national identity - to the human race as a whole Sickly eyes, feet put to the flame Telepan Quetzal, a Mexican king, crying out Theme: "the art of advocacy" - evil is clearly the Spaniards, stripped of all humanity Mexican history used for political & social messages/symbolism

David Siqueiros' Cuauhtémoc contra el mito (Cuauhtémoc against the myth), 1964, Mexico city, Mexico.

Cuauhtemoc as a symbol for heroic resistance against invaders across time Aztec emperor, Cuauhtémoc interrogated and tortured by Spanish for the Aztec gold and treasure Spiked cross - symbol Limited, yet vibrant, color palette The revolution's goals, past, and the current oppression of the working classes Human struggle to overcome authoritarian, capitalist rule Landscapes or figures of Mexican history and mythology - accessories

María Izquierdo Viernes de dolores,1944 - 45.

Depicts an altar made to commemorate the feast of the seven sorrows of the Virgin, which takes place a week before Good Friday Why is the Virgin crying? Bright colors Close up of altar that does not show any people praying Allows the viewer to think of the altar as their own private space

Tamayo, Mexico Today (México de Hoy)

Modern Mexico can only come from science, art, and technology

Orozco, Cortes y Malinche

Orozco depicts two nude figures-like the Adam and Eve of Mexico, as Octavio Paz considers them-are seated together and are of equal size. White and brown color and European and Indian features are accentuated for contrast. Their hands are clasped in union, however Cortes is obviously dominant: his foot (and their union) rests on the fallen body of an Indian. Arm over her body protecting her or enslaving her Depicted as adam and eve, creators of a new mestizo race, but also body on ground signifies they are also destroyers

José Clemente Orozco, The Epic of American Civilization

Painted at Dartmouth College in Hanover, New Hampshire Mural is divided into two parts, one part illustrates life in America before the arrival of the Europeans when there were only Native Americans, and the other part shows history since the Conquest of Mexico Shows a cycle of repression and rebirth as various cultures dominated the Americas begins with the arrival of the Aztecs in the Valley of Mexico Follows with an image of human sacrifice practiced by Mesoamericans Shows Quetzalcoatl ushering in a Golden Age of education, arts, agriculture, and science Quetzalcoatl is driven away by the Gods he originally displaced Cortés arrives and brings a giant cross with him, there are images of Cortés and the Spanish conquering the Aztec empire Machinery in the following panels is symbolic of dehumanization Image of Emiliano Zapata dominating a rich and militaristic society "Gods of the Modern World" is one of the most controversial panels shows skeletons in academic robes overseeing the stillbirth of useless knowledge -- a brave criticism to paint at one of the prominent colleges "Modern Migration of the Spirit" panel shows Christ rejecting his crucifixion and destroying symbols of the military, religion, and culture Mural concludes with an illustration of an idealistic future where there are machines doing the work of the workers, and various cultures are able to coexist

Camarena, The Fusion of Two Cultures

Quetzalcoatl and a Spanish soldier, spear is going through him signifying that this was not a peaceful fusion but a clash

Palacio Nacional, Rivera's mural the Marketplace Tlatelolco

Rivera's mural the Marketplace Tlatelolco an encyclopedic presentation of the multiple products, services, activities, and personages to be seen at the great Aztec marketplace. Presided over by an enthroned official, all is calm and orderly in the market. In the background is a topographical view of the Aztec capital city Tenochtitlan, with its pyramids, plazas, palaces, and canals. The painting gives no hint of Aztec imperialism, which the market symbolizes. Tribute and sacrifice victims were brought to Tenochtitlan from the subject peoples. Bold, bright colors glorifying Tenochtitlan Rivera tends to glorify aspects of Aztec society that are not traditionally marxist, but instead capitalist, which is a contradiction because he was a devout marxist

María Izquierdo La tierra (Earth), 1945.

Shows woman suffering

Jorge González Camarena: La Presencia De America Latina (The presence of Latin America), 1964-1965, Concepcion, Chile.

Unity and brotherhood of latin american cultures

Part Of Diego Rivera's Mural Depicting Mexico's History, Palacio Nacional, Mexico city, Mexico. 1935.

portrayed entire history of Mexico very popular for field trips to show history