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Type of bind: Paperback
Dewey Decimal Number: 759.972
EAN num: 9780393041767
ISBN number: 039304176X
Label: W. W. Norton & Company
Manufacturer: W. W. Norton & Company
Quantity: 1
Page Count: 384
Printing Date: 2002-04
Publishing house: W. W. Norton & Company
Sale Popularity Level: 1077055
Studio: W. W. Norton & Company
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Brief Book Summary:
The complete North American work of one of Mexico's greatest muralists. Among the Mexican muralists working in this country during the 1920s and 1930s, including the giants Diego Rivera and David Alfaro Siqueiros, the paintings of José Clemente Orozco are arguably the strongest and most politically charged. This important and profusely illustrated volume is proof. From his very first commission, Prometheus, at Pamona College and his highly political work at the New School for Social Research in New York to what some feel is his masterpiece, The Epic of American Civilization, at Dartmouth College, Orozco's stinging characterizations of hypocrisy, greed, and oppression challenged conventional conservative views, to such an extent that in certain instances demands were made for the destruction of his works. All of Orozco's North American work is presented here, with discussions on his life and influences as well as his place among the other Mexican artists and his impact on the exuberant art of the 1960s and 1970s. 250 illustrations, over half in color.
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Rated by buyers -
This handsomely illustrated and designed catalogue is a welcome addition to the Orozco literature in the English language. The images provide a full picture of Orozco's extraordinary artistic activity in the USA from his graphic work, to the easel paintings, and the murals in California, New York and Dartmouth.
Most of the volume's 11 essays are solidly researched and well-written with plenty that is new and original to say. Stand outs among these are Rita Eder, Dawn Ades, Reyes Palma, Victor Sorell, Alicia Azuela, J. Bass and Cordero Reiman. Among the truly weak essays in the catalogue are Oles, Miliotes and principal exhibition curator González Mello. His contribution suffers from too much (dated)critical theory and not enough original thinking based on Orozco's works on their own terms. He also does not acknowledge the work of earlier authors like Cardoza y Aragón and Raquel Tibol.
Still, the catalogue is a necessary addition to the literature on Los Tres Grandes and I rate it highly. In the end, the illustrations of Orozco's troubled visions of the human condition during the very first half of the past century are moving, powerful, simply extraordinary and more than justify the volume.
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