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Dr Gachet-s House at Auvers Merry Peasants af James Podares The Marriage of St Catherine gwt The Nell Gwynne Public House Joseph Marie Vien The Port of Saint-Tropez -09- The Bellman Louis XIV s Judith and her Maidservant sdg texas scenery North carolina stretch Clara -san40- Landscape with Tourists at Loch Katrine Monterey Park Footballer GIRARDON, Francois Le Chateau Noir Circe offering the Cup to Ulysses -41- Holy Conversation -detail- fdg Victoria Like Flames her Long Red Tresse Caroline Murat and her Children Mount Chimborazo,Ecuador View of Narth Head,Sydney Harbour 1888 The Mosque-Arab Festival- Christ on the Cross Young man with a skull Judith -detail- hh Procession in Piazza S. Marco Chrysanthemums 111 Landscape in Fosset Avenue at Middelharnis -08- St.George and the Dragon Eastellijay The Three Graces Mcnabb The Butcher-s Shop a Dido and aeneas
Jose Clemente Orozco:
Mexican 1883-1949 Jose Clemente Orozco Gallery Jose Clemente Orozco (November 23, 1883 ?C September 7, 1949) was a Mexican social realist painter, who specialized in bold murals that established the Mexican Mural Renaissance together with murals by Diego Rivera, David Siqueiros, and others. Orozco was the most complex of the Mexican muralists, fond of the theme of human suffering, but less realistic and more fascinated by machines than Rivera. Mostly influenced by Symbolism, he was also a genre painter and lithographer. Between 1922 and 1948, Orozco painted murals in Mexico City, Orizaba, Claremont, California, New York City, Hanover, New Hampshire, Guadalajara, Jalisco, and Jiquilpan, Michoac??n. His drawings and paintings are exhibited by the Carrillo Gil Museum in Mexico City, and the Orozco Workshop-Museum in Guadalajara. Jos?? Clemente Orozco was born in Zapotl??n el Grande (now Ciudad Guzm??n), Jalisco to Rosa de Flores Orozco. He married Margarita Valladares, and had three children. In a childhood accident, Orozco lost his left hand while playing with gunpowder. Jos?? Guadalupe Posada, a satirical illustrator whose engravings about Mexican culture and politics challenged Mexicans to think differently about post-revolutionary Mexico, worked in full view of the public in shop windows located on the way Orozco went to school. In his autobiography, Orozco confesses, "I would stop [on my way to and from school] and spend a few enchanted minutes in watching [Posada]?? This was the push that first set my imagination in motion and impelled me to cover paper with my earliest little figures; this was my awakening to the existence of the art of painting." (Orozco, 1962) He goes to say that watching Posado's engraving decorated gave him his introduction to the use of color. After attending school for Agriculture and Architecture, Orozco studied art at the San Carlos Academy. With Diego Rivera, he was a leader of the artist movement known as Mexican Muralism. An important distinction he had from Rivera was his critical view of the Mexican Revolution. While Diego was a bold, optimistic figure, touting the glory of the revolution, Orozco was less comfortable with the bloody toll the social movement was taking. Orozco is known as one of the "Big Three" muralists along with Diego Rivera and David Alfaro Siqueiros. All three artists, as well as the painter Rufino Tamayo, experimented with fresco on large walls, and elevated the art of the mural.








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