MURALS MEXICO

The pre-hispanic Olmec, first major civilization in México, created some of the earliest known painted “wall” art in Central America. Enter the Spanish and Catholicism and you have a widespread venue for religious teachings. Add to that – a “readymade platform for the politically motivated” – and Voila! the birth of the Mexican mural movement.

México is well-known for its “Big Three”, its most famous and popular muralists commissioned by the post-Mexican Revolution (1920) government to begin “a new era for Mexico and its newly empowered people”. The “Big Three” created a variety of large scale murals all over México. The new government wanted a new identity and a way to offer its people a sense of pride and cultural beauty. Murals appealed to and educated a mostly illiterate population.

The most renowned of the “Big Three”, Diego Rivera, husband of popular artist Frida Kahlo and subject of many murals himself, began his depictions of the “noble and glorious” working class with the first commissioned mural in Mexico City at Escuela Nacional Preparatoria (where Frida was a student). Diego visited and lived in the United States several times, painting commissioned murals in California, New York City and Detroit, where his unexpected inclusion of Lenin and symbols of Communism offended the Rockefellers who had commissioned it. The work was covered over and Rivera returned to México. Diego died in 1957, leaving behind a wide legacy as painter, political activist and womanizer.

Jalisco-born José Clemente Orozco, a caricaturist and illustrator (illustrating John Steinbeck’s book The Pearl two years before his death in 1949), portrayed mankind’s suffering and the horrors of war in his murals and frescoes in government buildings of Guadalajara, and in colleges in New York, California and Dartmouth. Like Rivera, Orozco spent time in New York where he witnessed the 1929 stock market crash. Combined with his traumatic experience during the Mexican Revolution and the rise of fascism in Europe, Orozco’s work took on a dark, ominous look that left him “Mexico’s not-so-favorite son”.

• 

• 

(While writing this I came across an article about muralist Orozco in the latest Guadalajara Reporter, April 2-8. Orozco Metafíasco, a tribute to his work and the 100 years since the start of the Mexican muralist movement, is showing in Guadalajara’s Museo de Las Artes until May 29th. Closed Mondays.)

David Alfaro Siqueiros (1896-1974) was a young radical, blending his bold and optimistic view of the Mexican Revolution with his visions of science and machinery. His work was guided by use of equipment, materials and techniques he discovered while studying in Los Angeles in 1932. His early days in the army exposed him to the culture and daily struggles of the poor and working people of México. He also traveled throughout Europe where he was heavily influenced by artists both past and present. He was a Communist who famously led an attack on Leon Trotsky’s house in Mexico City in a failed attempt to assassinate him. (See Wikipedia for more information.)

The Muralist movement (1920-1970) rejected the traditional venues for production, showing and selling of art. The painting of walls throughout the country was inspired by indigenous Mexican materials and techniques. Over time a proliferation of street art arose throughout Central and Southern America. Blank walls became showcases for images of Catholicism and indigenous Mexican religions, as well as political statements. They became ” a vehicle for education and the improvement of society”.

These days street art projects proliferate throughout many areas of México, inspired I’m sure by the earlier Mexican muralists. Websites and blog posts showcase the results. Social media/Instagram spread the word. In 2015 Las Palmitas, a low-income neighborhood in Pachuca, México, came together with artists to turn the hillside barrio into a grand colorful mountainside mural, painting facades of over 200 homes in bright candy colors that extended 16,000 sq. ft. into the barrio’s narrow streets, bringing people together in community spirit. (theguardian.com)

Ajijic is the proud home to two internationally known local painters who continue to brighten our streets with murals symbolic of the history of our area. Efren Gonzales is now director of our local cultural center. He is well known for his paintings depicting historical symbology and typical scenes of the Lakeside area (ie., the markets). Jesus Lopez Vega has spent the past 13+ years studying the history of Ajijic and is working on a handwritten/painted book about his findings. His murals depict mystical “visions of the ancients” and native traditions.

Another government program that continues today is known as Pueblo Mágico, a five year work program geared toward attracting tourists, thus increasing revenue to the small towns (pueblas). Towns nominated must be an example of beauty, historical importance, or natural wonders. The designation is similar to UNESCO World Heritage Site declaration. In December 2020 Ajijic, Jalisco, (where I live) was awarded Pueblo Mágico status and the work began. Walls began turning colors. Faces, animals, landscapes, and geometric designs started showing up everywhere, turning Ajijic into a most colorful place to live. Murals are part of México now, a welcome and expected part of the “color in the streets”!

• 

• 

•