Vida Americana: Mexican Muralists Remake American Art, 1925–1945 | Art & Artists

Feb 17, 2020–Jan 31, 2021


Exhibition works

8 total
Orozco on the Coasts
Read more

Orozco on the Coasts


A photo of a mural depicting a tortured-looking man.
A photo of a mural depicting a tortured-looking man.

José Clemente Orozco, Prometheus, 1930. Fresco, 20 ft. × 28 ft. 6 in. (6.1 × 8.7 m). Pomona College, Claremont, California. © 2019 Artists Rights Society (ARS), New York / SOMAAP, Mexico City

Orozco on the Coasts

The work of José Clemente Orozco had a tremendous impact on American artists such as Jacob Lawrence, Jackson Pollock, and Charles White. Orozco was the first of the leading Mexican muralists to come to the United States, arriving in New York in December 1927. His first mural in the United States, painted in 1930 for the Frary Dining Hall at Pomona College in California, appears in the exhibition as a half-scale reproduction. Rejecting the folkloric themes popular with his peers, Orozco focused on Prometheus, the mythical Greek Titan who incited the wrath of the gods by bringing fire—and thus knowledge—to humanity. The never-ending cycle of conflict and struggle remained a central theme in Orozco’s art as he continued to receive major commissions from institutions including Manhattan’s New School for Social Research, Dartmouth College in New Hampshire, and the Museum of Modern Art. Through works such as these, Orozco inspired artists across the country, who channeled his visceral brushwork and uncompromising portrayal of struggle and trauma into their own depictions of upheaval and strife, both personal and collective

A photo of a mural depicting a tortured-looking man.
A photo of a mural depicting a tortured-looking man.

José Clemente Orozco, Prometheus, 1930. Fresco, 20 ft. × 28 ft. 6 in. (6.1 × 8.7 m). Pomona College, Claremont, California. © 2019 Artists Rights Society (ARS), New York / SOMAAP, Mexico City

José Clemente Orozco, Reproduction of Prometheus, 1930

A painting with a semi-abstracted fight scene.
A painting with a semi-abstracted fight scene.

Jackson Pollock, Untitled (Naked Man with Knife), c. 1938–40. Oil on canvas, 53 1/16 × 39 in. (134.7 × 99 cm) Tate, London; presented by Frank Lloyd, 1981. © 2019 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

Jackson Pollock, Untitled (Naked Man with Knife), c. 1938–40

A painting of homes on fire.
A painting of homes on fire.

Jacob Lawrence, African Americans seeking to find better housing attempted to move into new areas. This resulted in the bombing of their new homes., panel 51 from the Migration Series, 1940–41. Casein tempera on hardboard, 18 × 12 in. (45.7 × 30.5 cm). The Phillips Collection, Washington, DC; acquired 1942. © 2019 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence, African Americans seeking to find better housing attempted to move into new areas. This resulted in the bombing of their new homes., panel 51 from the Migration Series, 1940–41

A painting depicting semi-abstracted weapons.
A painting depicting semi-abstracted weapons.

Everett Gee Jackson, Embarkation, 1938. Oil on canvas, 36 × 44 3/8 in. (91.4 × 112.7 cm). Private collection

Everett Gee Jackson, Embarkation, 1938

A painting depicting two men taking to one another.
A painting depicting two men taking to one another.

Charles White, Hear This, 1942. Oil on canvas, 21 1/2 × 29 1/2 in. (54.6 × 74.9 cm). The Harmon and Harriet Kelley Foundation for the Arts, San Antonio

Charles White, Hear This, 1942

A painting of Jesus Christ with an axe chopping down a cross.
A painting of Jesus Christ with an axe chopping down a cross.

José Clemente Orozco, Christ Destroying His Cross, 1943. Oil on canvas, 37 × 51 3/8 in. (94 × 130.5 cm). Museo de Arte Carrillo Gil, INBAL, Mexico City. © 2019 Artists Rights Society (ARS), New York / SOMAAP, Mexico City. Reproduction authorized by El Instituto Nacional de Bellas Artes Y Literatura, 2019. Photograph by Javier Hinojosa

José Clemente Orozco, Christ Destroying His Cross, 1943

A painting depicting a valley full of abstract spikes.
A painting depicting a valley full of abstract spikes.

José Clemente Orozco, Landscape of Peaks, 1943. Tempera on wood, 39 1/8 × 47 15/16 in. (99.4 × 121.7 cm). Museo de Arte Carrillo Gil, INBAL, Mexico City. © 2019 Artists Rights Society (ARS), New York / SOMAAP, Mexico City. Reproduction authorized by El Instituto Nacional de Bellas Artes Y Literatura, 2019. Photograph by Agustín Estrada

José Clemente Orozco, Landscape of Peaks, 1943


Artists


Explore works from this exhibition
in the Whitney's collection

View 10 works

On the Hour

A 30-second online art project:
Frank WANG Yefeng, The Levitating Perils #2

Learn more about this project

Learn more at whitney.org/artport

On the Hour projects can contain motion and sound. To respect your accessibility settings autoplay is disabled.