The Illustrated Page: Medieval Manuscripts to New Media

CONTENTS OF CURRICULUM UNIT 17.01.02

  1. Unit Guide
  1. Introduction
  2. Rationale
  3. Classroom Context
  4. Unit Objectives
  5. Virginia Standards of Learning (SOLs)
  6. Virginia Standards of Learning for Foreign Languages - Spanish I and II
  7. Strategies
  8. Overview
  9. Mexican Muralism Movement Founders – Biographical Information
  10. The Mexican Muralism Movement Objectives
  11. The Richmond Mural Project
  12. Muralists in Richmond
  13. Activities
  14. Student Produced Work
  15. Works Cited
  16. Resources for Teachers and Students

In Their Own Images

Yolanda Bezares-Chavez

Published September 2017

Tools for this Unit:

The Mexican Muralism Movement Objectives

Orozco, Rivera and Siqueiros found inspiration in the magnificent murals left behind by ancient civilizations, for example, the Mayans. Another source of inspiration were the Aztec codices, which contain clear images of daily life in the indigenous communities. The Mexicans muralists had solid knowledge about the pre-Hispanic population and its culture, and made a deliberate effort to integrate this important influence in the art.

From its conception, the Mexican Muralism movement had, as one of its fundamental objectives, to take the art out of fancy galleries and private homes, and place it in highly visible public buildings, where art could be admired by everyone, and its visual message could not be ignored. The artists wanted to make Mexicans aware and proud of their indigenous heritage and culture. They believed that painting, like other human activities, should serve the common people, instead of creating decorating items only for those who could afford to acquire them. Until then, Mexicans had little access to pictorial art, except for the large images suspended inside churches, or the modest and rudimentary paintings decorating cantinas (bars). Universities, government buildings and many other places of social gathering became giant canvases which the muralists transformed into visual narratives.

In addition to disseminating their art on public walls, the Mexican muralists wanted to restore a national identity that had been badly damaged after a long period of brutal oppression under foreign powers. With this idea in mind, the artists frequently included the presence of indigenous peoples in their images. Peaceful looking women, dressed in traditional indigenous attire, occupied with daily chores, or surrounded by flowers, became a constant motif in murals. Another significant theme was that of Mother Nature, many times portrayed as a massive, sensuous, prodigal, nurturing and protective native woman. Images of idyllical beauty, almost reminiscent of the Christian paradise, but with a powerful indigenous quality, became very popular. Natural landmarks, such as the volcanoes Iztaccihuatl and Popocatepetl, pre-Hispanic ruins, and images of indigenous monarchs from the past occupied an important place on the new artistic movement.

Along with beautiful landscapes, the Mexican muralists also created a special place in their paintings to memorialize the fights and sacrifices endured by many distinguished personalities in Mexico’s history. From presidents to soldiers, political figures and influential artists, the Mexican murals came alive with dramatic and very realistic representations of historical events. The brutality of the Spanish conquest, the annihilation of the pre-Columbian monarchies, the forceful conversion of the indigenous communities into the Christian faith, and the subsequent battles to create a democratic country, were all documented by the muralists, who wanted to keep those events alive in the collective memory. 

Whereas their pictorial retelling of past events remained a crucial component of their art, the Mexican muralists were receptive to the promises of the future. They firmly believed in the possibility of creating a better society by educating the masses, distributing land and other natural resources among the underprivileged, and establishing solid institutions. They saw themselves as communicators in support of the working class, using their painting tools as journalists used their pens. As such, the muralists left a legacy of images in which the viewers can find a strong social message. The lavish eccentricities of the bourgeoise, the miserable working conditions in factories, the sinister wave of fascism advancing in Europe: these and other somber realities were openly exposed by the artists. 

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