HumanitiesWeb HumanitiesWeb
WelcomeHistoryLiteratureArtMusicPhilosophyResourcesHelp
Periods Alphabetically Nationality Topics Themes Medium Glossary
pixel
HumanitiesWeb.org - David Siqueiros

Art
Sort by Period
Sort Alphabetically
Sort by Nationality
Topics
Themes in Art
Medium
Glossary

Search

Get Your Degree!

Find schools and get information on the program that’s right for you.

Powered by Campus Explorer

& etc
FEEDBACK

(C)1998-2013
All Rights Reserved.

Site last updated
26 June, 2013
David Siqueiros
At various times in the past I've bemoaned the fact that all too often, when a country's art is mentioned, there comes to mind only one, or at most, two well-known artists as if someone had "elected" them to represent all art from that country. Some countries like the U.S., France, Germany, England, and Italy are so big and the artwork there too broad to suffer this problem, but in many others, it's a recurring phenomena. From Spain we can only think of Velázquez and El Greco (who, incidentally was Greek, not Spanish) Picasso was Spanish, but ironically leads the pack of French artists instead. From Russia, Chagall seems to be the only one who comes to mind. From the Netherlands, Rembrandt, from Switzerland, Klee, and from Mexico, Rivera. Worse than this dilemma, some countries are unrepresented at all, seeming to have no painting tradition whatsoever. Quick, name an Israeli painter, and Egyptian painter, an Argentine painter, a Yugoslavian painter (okay, so that's not quite fair), but you get the idea.

Mexico is an interesting case in point. Diego Rivera seems to be the star atop the tree, but his wife, Frieda Kahlo was no minor talent, and his protege and assistant, Clemente Orozco made quite a mark for himself in the mural business as well. And independent of the Rivera clan was David Alfaro Siqueiros, whose mural work certainly stands on a par with Rivera's and in many ways is superior. His massive, 1000 square-foot Portrait of the Bourgeoisie, painted in 1939 for the Electrical Workers Union Building in Mexico City is far bigger than most of Rivera's efforts and seems far more dynamic in its revolutionary upheaval, consumed in the fires of its own incredible detail. In it he depicts the temple of Liberte', Egalite', and Fraternite' (from the French Revolution) in flames while a robotic eagle soars into the unrest amid sweeping factory smokestacks and radio towers soaring toward a vanishing point at the top-centre edge of the painting. The work seems to be a horrific vision of W.W.III industrial chaos verging on the apocalypse.

Siqueiros was born in Camargo City, Chihuahua in 1896. He studied at Mexico's respected San Carlos Academy where he was a leader in the historic student strike of 1911. An unabashed, Marxist revolutionary, he studied the avant-garde in Europe. In Barcelona, he paused long enough to publish a treatise on new American (not U.S.) art in which he made a case for a new, heroic style of painting blending the best of European movements with Pre-Columbian traditions. As can be seen by his mural portfolio, he was intensely political...even more so than Rivera...which made him a much harder sell in winning American commission during his years living and teaching in New York. All his life he fought censorship of his own work and others, even being jailed in Mexico for a time in 1964. If you think you "know" Mexican art, based upon Rivera, take a look at this man's work. He is not Rivera, and his painting is not what you usually think of when you think Mexican art.

Contributed by Lane, Jim
18 July 1999

Personae

Terms Defined

Referenced Works