By Marcia Chaiken and Jan Chaiken—
When the word “art” is mentioned in the same sentence as “Mexico” our minds leap to our memories of outstanding “murals.” Whether in the largest cities of Ciudad de México or Guadalajara, or small special places such as San Miguel de Allende or Huatulco, during return visits we are drawn back to experience again the murals that are etched in our minds. And we are always astonished to see details that have eluded us and to learn more about the history that inspired them during our many decades of exploring them.
It seems that a blank wall stimulates human artistic creativity. Some of the walls of caves in the mountains of Europe are decorated with prehistoric drawings of animals that were hunted or perhaps worshipped in the past. And although we found these 50,000-year-old creations awe-inspiring, they did not prepare us for the breathtaking murals in Bonampak, deep in the jungle of the state of Chiapas. In bright colors and detailed drawings, each of the murals in three temple rooms open a window to the life the elite Maya lived there more than twelve centuries ago. Displaying wars, musical events and religious rites, the Bonampak murals also have a political intent that is innate to the best and most famous of Mexican murals through the centuries – in this case establishing the hereditary right to rule of the portrayed nobility.
Centuries later, after the Spanish invasion, Catholic orders also used murals to demonstrate their right to rule New Spain and subjugate the indigenous people. Using artists’ techniques developed in Europe during the Renaissance, including understanding of human anatomy and ability to portray visual perspectives, the murals often presented the lineage of specific Catholic orders in tree-like form, tracing the founders and current religious heads of that era back to Jesus. We frankly find these monochromatic murals adorning convents and other religious buildings in cities around central Mexico including Cuernavaca, San Agustín de Acolman, and Malinalco, less memorable and inspiring than earlier and later works. Rather than drawing on the creativity of the native muralists, they were copies of prints from Spain that were painted by people who had been enslaved by the religious orders.
The Mexican Revolution, which began in 1910, challenged the dictatorship of Porfirio Díaz and helped inspire one of the most prolific periods of mural art in Mexico. But even before the upheaval in 1910, the writing was literally on the wall. In 1906, Gerardo Murillo, known as Dr. Atl, published a manifesto calling for a distinctly Mexican art inspired by the country’s Indigenous cultures rather than European models. Closely allied with President Porfirio Díaz, Treasury Minister Alberto Pani, and the revolutionary Venustiano Carranza, Dr. Atl became the hero and teacher of three major muralists after the revolution: Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros.
These “three greats”, although linked together by art school affiliation (San Carlos Academy), revolutionary ideology and chronology, had radically different backgrounds. Diego Rivera, born in 1886 in Guanajuato, was a child prodigy producing drawings as early as age 2, including sketches on the walls of his home. His parents encouraged his art studies in the San Carlos Academy in Mexico City and then in Europe. Rivera was part of the now well-known avant-garde group breaking traditional forms of art, including Pablo Picasso. Although he was immersed in the paintings of the Impressionists including Gauguin and Matisse, he developed a style that was much more rooted in Mexican indigenous art, using bright colors and flat perspectives.
Orozco, on the other hand, was born in Jalisco in 1883 and as a child moved to Mexico City where his parents struggled financially. They decided that José should become an agricultural engineer and sent him to study in a rural area. Orozco contracted rheumatic fever and returned home to Mexico City. Shortly after, his father died of typhus and, to help support his family, Orozco became a draftsman and then was commissioned to paint portraits of recently deceased people. His interest in art was sufficient to begin classes at the San Carlos Academy. But before he could establish himself as an artist, another tragedy occurred; while he was mixing chemicals for fireworks, an explosion greatly injured his left hand and arm. His left hand and wrist needed to be amputated after they became gangrenous. Orozco struggled on, taking menial artistic jobs – but he was forever sensitized to poverty and pain in the world around him. These are reflected in the grey and red murals he eventually produced.
Squeiros, the youngest in the triad, was born in Chihuahua in 1896 to a well-to-do family who supported his desire at age 12 to study art and architecture in Mexico City. The young Siqueiros was a firebrand and soon was part of the prerevolutionary activists who demanded social change – including a successful student strike at the San Carlos Academy. He joined the Mexican Revolution Army at age 18 and advanced rapidly through the ranks. His political activism continued long after the Revolution, and he later became an outspoken Communist whose convictions shaped both his art and his life. His military career continued in Spain during the Spanish civil war. As part of this career, Siqueiros developed a passion for new technology. His murals reflect both the horrors of wars and the influence of technology.
In the decade following the revolution, all three of these artists received government grants to adorn much of the historic central area of Mexico City with their murals. These works are accessible today in the Palacio de Bellas Artes and other government buildings. The House of Tiles, (currently a restaurant and store owned by Sanborns) also has a fine example of a mural by Orozco. The intent of all these murals was less an appreciation of art than political propaganda – portraying the grandiloquence of both the Mexican and Russian revolutionaries. The murals pitted the excesses of capitalism (especially Rivera’s) and fascism (Siqueiros’) against the dream of the working class achieving independence. Both for Rivera and Siqueiros, fascination with new technology and its promise of freeing the masses from back-breaking labor became a staple topic in their work. For all three, documenting the pain and oppression of humanity under repressive regimes was paramount.
In Guadalajara, Orozco created monumental murals exploring Mexico’s history, from the struggle for independence to the violence, contradictions and aspirations of modern society. They are located in the Government Palace of Jalisco, the Museo Cabañas, and the Museum of Arts at the University of Guadalajara. As the fame of the three spread throughout the world, universities and philanthropists, especially in the US, commissioned murals – but for their artistic value and technological portrayal. Some of those who commissioned the murals had not done their homework and were aghast when the portraits of Russian revolutionaries appeared on their walls; in fact, Nelson Rockefeller ordered a mural by Rivera in Rockefeller Center covered up and then destroyed because it included a portrait of Lenin. But many murals are still accessible in major US cities and universities. Most of the art is still there as well as the political history.
Drs. Marcia and Jan Chaiken have been married for 62 years and have published many justice system research reports together.
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