Rufino Tamayo: El Cuarto Grade (The Fourth Great One)edit
"Nacimiento de Nuestra Nacionalidad" was one of Rufino Tamayo's abstract pieces that is now in the Palacio de Bellas Artes in Mexico City.
Often times, the most notable mural artists of the Mexican Revolution are referred to as Los Tres Grandes (the three great ones) and are the most acknowledged. However, Rufino Tamayo also contributed to the mural movement of the 1920s.[1] Tamayo is the youngest of the four and he often argued against the attitudes of the Big Three. That is perhaps why many disregard him. He believed that the Mexican Revolution would ultimately harm Mexico due to the progressive attitudes that were arising. He argued against their isolationist work after his art studies in Europe where he became heavily influenced by post World War II abstractions. When he returned to Mexico, he wanted his artwork to express pre-Conquest art in his own abstract style.
"Nacimiento de Nuestra Nacionalidad" (The Birth of Our Nationality)edit
Tamayo was heavily influenced by the early pre-Colombian history of Mexico and it is very evident in his piece titled "Nacimiento de Nuestra Nacionalidad". He expresses the violence that was used during the Spanish conquest of native Mexicans. The center shows a human figure holding a mechanical weapon, sitting atop a horse and surrounded by a glowing light which depicted a 'godlike' Spanish conquistador. The horse is shaped like a majestic creature because it was a creature that the native Mexicans had never seen before. Overall, this piece offers an immense amount of imagery and is a reflection of the initial defeat of Mexican nationalism and shows the traumatic and oppressive history. Tamayo was very proud of his Mexican roots and expressed his nationalism in a more traditional way than Rivera or Siqueiros. His focus was on accepted both his Spanish and native background and ultimately expressing the way he felt through the colors, shapes and culture in a modern abstract way. Ultimately, Tamayo really wanted the Mexican people to not forgot their roots and essentially shows why he was so persistent in using inspiration from the pre-Colombian period as well as incorporating his on perspective of the Mexican Revolution.
File:Aurora Reyes, Attack on rural teachers (1936).jpg"Atentado a las maestras rurales" (Attack on rural teachers), was the first mural that Aurora Reyes Flores created in 1936.Most notably known as the first woman Mexican muralist, Aurora Reyes Flores was a teacher, activist and artist who focused on highlighting problems that were ignored and unprotected. Reyes voiced her concerns especially in education and the lack of proper working conditions for women. She was notably progressive a well ahead of her time. [2]
Her first mural, "Atentado a las maestras rurales" (Attack on rural teachers), depicts a woman who is being dragged by the hair by a man who is also tearing up a book with his other hand. Then, another man, whose face is covered by the large sombrero on his head is beating the woman with the butt of his rifle. Behind a door, there are three children who cannot believe what they are witnessing. This mural ultimately shows the hidden disrespect that women faced as a result of fighting for their rights.
File:Elena Huerta, mural mas grande.pngElena Huerta commissioned this mural to commemorate the 400 years of founding Saltillo.Elena Huerta's 450 square meter work is the largest mural created by a woman in Mexico and took her two years to complete. This well-known artist was not only known through her artwork, but also because she was a writer and feminist. In her lifetime, she was only able to create three murals but she captured the true essence of the Mexican Muralist movement through her passion to keep the customs viable and being a social and political activist.
Rina Lazo, Rivera's assistant for 10 years until his death, his "right hand"
As Rina Lazo worked alongside Rivera, she became heavily influenced by his artwork and even helped him on one of the most outstanding murals of the Mexican Revolution: "Sueno de una tarde dominical" (Dream of a Sunday Afternoon). However, she also worked on her own pieces and ultimately had to navigate through her own personal struggles on how to fully depict Mexican nationalism. Moreover, painting alongside Rivera helped her understand the concepts of Mexican muralism which captured social and political awareness but also showed the indigenous roots that have shaped Latin Americans and Mexicans. At the time, it was very rare for a women to have such popularity and independence, but Lazo managed to become a muralist in a heavily male dominated field. She also managed to grow fond of Mexico although she was originally from Guatemala which really shows how the Mexican Revolution influenced her through her artwork and personal life.
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