Title: Mexican muralism - Wikipedia
Headings: Mexican muralism
Mexican muralism
Contents
Antecedents
Mural movement
After the mural project at the National Preparatory High School
Artistry
Los Tres Grandes (The Three Great Ones)
El Cuarto Grande (The Fourth Great One)
" Nacimiento de Nuestra Nacionalidad " (The Birth of Our Nationality)
Revolutionary artistry
Political expression
Influence
Women of Mexican muralism
Aurora Reyes Flores, first woman muralist
Elena Huerta Muzquiz, artist of the biggest mural created by a woman in Mexico
Rina Lazo, Rivera's assistant for 10 years until his death, his "right hand"
See also
Further reading
References
External links

Content: However, most of the murals in the Escuela National Preparatoria were done by José Clemente Orozco with themes of a mestizo Mexico, the ideas of renovation and the tragedies of the Revolution; Fernando Leal painted ["dancers of Chalma"] "Los danzantes de Chalma", no earlier than 1922. Opposite that mural, Jean Charlot painted La conquista de Tenochtitlán (Conquest of Tenochtitlan) by Jean Charlot—invited by Leal. After the mural project at the National Preparatory High School
This project at the institution was followed by projects at the Palacio Nacional, the interior walls of the Palacio de Bellas Artes, the Escuela Nacional de Chapingo the Escuela Nacional de Medicina and the Secretaria de Educación Pública building among many others. Ramón Alva de la Canal, Mural at Colegio San Ildefonso
The movement was strongest from the 1920s to the 1950s, which corresponded to the country's transformation from a mostly rural and mostly illiterate society to an industrialized one. While today they are part of Mexico's identity, at the time they were controversial, especially those with socialist messages plastered on centuries-old colonial buildings. One of the basic underpinnings of the nascence of a post revolutionary Mexican art was that it should be public, available to the citizenry and above all not the province of a few wealthy collectors. The great societal upheaval made the concept possible as well as a lack of relatively wealthy middle class to support the arts. On this, the painters and the government agreed. One other point of agreement was that artists should have complete freedom of expression.