773:, "where the initial impression is of a bloody action scene of great melodrama." He uses jarring muted tones of a darker palette, which matches the dark theme portrayed. Orozco promotes a dignified view of death, as the viewer sees three men sacrificing themselves. Two of the men appear to have died, even though no wounds are present on their bodies, and a third is kneeling while covering his face with his left arm. Their faces are hidden, which gives the viewer a sense of anonymity behind the sacrifice of the many victims of the revolution. This poses the question, is the sacrifice of many worth anything? It makes their anonymous identity more powerful than if they had recognizable identities, because they now represent the sacrifice of the hundreds of thousands of men who fought and died for the same reason. There is also a component of Christian iconography in this mural, as the central man leans spread eagle against a barricade of rocks and beams that resemble a cross, which contributes to the mural's balance but not in a symmetrical way. This is an allusion to the crucifix, with the central soldier playing the role of the martyr, which is further exemplified by his lack weapons. Analysis of this mural and many other murals by Orozco about the Mexican Revolution is summed up by a statement by Antonio Rodríguez, which states "Orozco showed its...tragedy."
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meant to portray the situation of the working class as oppressed by the rich and in a state of war with one another. This point is further exemplified by the view of the rich who can look down on the working class and continue to live a life of decadence without consequences. This displays the workers as completely blind to their situation by acting as gladiators for the entertainment of the rich. Tools held by the working class individuals in this murals are being used as weapons, which shows "the workers are turning the objects of their livelihood against themselves, have not acquired real weapons and are caught up in confusion about what people and things are really for, treating comrades like enemies." While this mural is not aesthetically pleasing, with its repulsive distorted characters, it evokes thought within the spectator about their personal situation as a member of the working class or of the privileged bourgeois.
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Michelangelo-like as they represent the "Old World man and a New World woman." Orozoco works to represent the inequities present between this relationship by portraying Cortés' gestures as domineering and
Malinche's as subordinate. Cortés' gesture of placing his arm across Malinche's torso, "both prevents an act of supplication for the Indian on Malinche's part and acts as a final separation from her former life." This image serves as a synthesis of the Spanish colonization of Mexico, the critical role Malinche played, and the beginning of the mestizo in Mexican history.
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elderly woman and the man who kisses her hand, another couple locked in a final embrace, and a third one of two stooping men. The rhythmic pairing suggests a shared identity of the men who are leaving to fight the
Revolution. "What this treatment does to history, to real events such as departing to fight a revolution, is to turn it into a natural (that is, of nature), inevitable, and timeless event, or not an event at all but a condition about which humans can do nothing to change since the condition is made of them and vice versa."
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is a negative image of the revolution in which a revolutionary leader is the central figure in the mural, "blinded by the red
Jacobian hat of the revolution" and threatening the very people he is supposed to be fighting for. The peasant on the right is on his knees begging for mercy while the peasant
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spans three floors of the building and includes multiple other murals in the stairway, all of which depict his critical view of the
Revolution. The Escuela Nacional Preparatoria commissioned him in February 1923; however, his earlier panels created serious political conflict, causing him to cease his
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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 and spend a few enchanted minutes in watching
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is grandiose in scale and displays the final moments before the sacrifice of the
Revolution. The landscape is somber, as is the expression behind the leftward earthbound woman, who appears to be the man's mother or grandmother. There are three pairs present in this mural: the leftward couple of the
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displays Orozco's caricature style. It is a depiction of social criticism through the use of satire. In this mural, the viewer sees a depiction of the rich, whose faces and bodies are obviously distorted, which is meant "to represent their decadence and abuses of power" and the working class. It is
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In 1916, Orozco, disappointed by the review he received in Mexico about his art, went to the United States. Four years later Orozco came back to Mexico City and began working as a cartoonist. In July 1923, Orozco begun to work on his first mural project aided by
Vasconcelos, he participated in the
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is a dignified view of the creation of the first mestizo, a result of the
Spanish colonialism in Mexico. "This union between the Spanish European conquistador and his female Indian mistress was an incontestable historical fact" and is demonstrated as the two bodies join into one. Their bodies are
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in 1906–1914. Orozco participated at the 1911 student's strike along with fellow student and future muralist David Alfaro
Siqueiros. He worked as an illustrator for Mexico City newspapers, and directly as an illustrator for one of the Constitutionalist armies overseen by "First Chief"
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to Rosa de Flores Orozco. He was the oldest of his siblings. In 1890 Orozco became interested in art after moving to Mexico City. He married
Margarita Valladares, and had three children. At the age of 21, Orozco lost his left hand while working with gunpowder to make fireworks.
457:(Prometeo del Pomona College), on the wall of Pomona's Frary Dining Hall, was direct and personal at a time when murals were expected to be decorous and decorative and have been called the first "modern" fresco in the United States. Later that year, he painted murals at the
414:. Some of the murals were destroyed by Orozco himself, and later repainted. Others were vandalized by conservative students and practically destroyed. Thus, Orozco had to repaint many of them when he came back to the School in 1926. In 1925, he painted the mural
318:. One of the greatest influences on Orozco in his adult years was Dr. Atl's view on Symbolism. In 1914, Orozco followed Dr. Atl to Orizaba when the competing armies were about to enter the city. When the revolutionary factions split in 1914 after
353:. While Rivera 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
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on the left, whose hands have been severed from the wrist down, watches. This displays the situation of the working class, who have been recruited to fight and do not know who they are fighting or why they are fighting at all.
700:. The first image is "located under the central arch of the ground floor of the north wall and is the only wall section perfectly framed by the colonnade from the vantage point of the center of the courtyard" and is called
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in the Government Palace. The frescos for the Hospicio Cabañas, which are considered his masterpiece. In 1940 he painted at the Gabino Ortiz Library in Jiquilpan, Michoacán. Between 1942 and 1944 Orozco painted for the
334:. The violence he witnessed profoundly affected his life and art. "The world was torn apart around us", he wrote in his autobiography. "Troop convoys passed on their way to slaughter. Trains were blown up."
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Between 1927 and 1934, Orozco lived in the USA. Even after the fall of the stock market in 1929, his works were still in demand. From March to June 1930, at the invitation of the
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Art Department, he painted what he noted was the "first fresco painted outside the country by a painter of the Contemporary Mexican School". The fresco,
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is described as a "confirmation of what an extraordinary and powerful painter Orozco would turn out to be" and is compared to the mural
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While still residing in Mexico City, Orozco died in his sleep on September 7, 1949, aged 65. The cause of his death was heart failure.
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El hombre creador y rebelde y El pueblo y sus falsos líderes (The Creator and rebellious man and the people and their false leaders).
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Additional murals, completed by Orozco in 1924–1926, are "painted on the walls and rising overheads of the ground floor," including
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The truth of the matter is that I lost my hand when a child, playing with powder: it was an accident in no way out of the ordinary.
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1011:"¡Orozco!" by The Ministry of Foreign Affairs and the Institute of Fine Arts, Mexico at The Museum of Modern Art, Oxford, 1980.
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The second story of murals by Orozco in the Escuela Nacional Preparatoria, which were painted in 1923–24, includes the murals
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219:, fond of the theme of human suffering, but less realistic and more fascinated by machines than Rivera. Mostly influenced by
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704:. A unique aspect of the first floor murals is that each mural parallels in width to the arched openings of the colonnade.
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work, like Siqueiros'. He later returned to finish the work he began under a new wave of social change in 1926.
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2031:. Hanover, New York and London: Hood Museum of Art, Dartmouth College and W.W. Norton & Co. 2002.
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593:.Jose Orozco's"Epic of American Civilization is under the supervision of the Hood Art Museum.
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On the first floor of the Escuela Nacional Preparatoria are a series of murals, including
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revolutionary war and his paintings reflected his view on the dark essence of the war.
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424:'s House of Tiles. The following year, he painted a mural at the Industrial School in
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Muralism without Walls: Rivera, Orozco, and Siqueiros in the United States 1927–1940
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Mural painting and social revolution in Mexico, 1920–1940: art of the new order
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José Clemente Orozco's mural series in the Escuela Nacional Preparatoria at
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1021:"Vida Americana: Mexican Muralists Remake American Art, 1925–1945" at the
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Lower part of El hombre creador y rebelde y El pueblo y sus falsos líderes
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David W Scott, "Orozco's Prometheus: Summation, Transition, Innovation",
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349:. An important distinction he had from Rivera was his darker view of the
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Top part of El hombre creador y rebelde y El pueblo y sus falsos líderes
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An Artist in New York: Letters to Jean Charlot and Unpublished Writings
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The Insiders: Rejection and Rediscovery of Man in the Arts of Our Time
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A Mural painting from Orozco in Hospicio Cabañas, Guadalajara, Mexico.
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The third story, created between 1924 and 1926, includes the murals,
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1938:"José Clemente Orozco in the United States, 1927–1934 | Hood Museum"
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1408:"José Clemente Orozco Biography – Painter, Illustrator (1883–1949)"
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2158:, Oil on canvas; 36 5/8 x 511/8 in., at Humanities-interactive.org
1968:"Vida Americana: Mexican Muralists Remake American Art, 1925–1945"
1328:"Tragedy and Triumph: the Drama of José Clemente Orozco 1883–1949"
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José Clemente Orozco was born in 1883 in Zapotlán el Grande (now
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1014:"José Clemente Orozco in the United States, 1927–1934" at the
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América Tropical: Oprimida y Destrozada por los Imperialismos
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Murals at Government Palace and Sala do Congreso (panoramas)
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Filosofía del muralismo mexicano: Orozco, Rivera y Siqueiros
2017:. University of New Mexico Press. Albuquerque. 13–88. 1989.
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may be in need of reorganization to comply with Knowledge's
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Painted Walls of Mexico: From Prehistoric Times until Today
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After returning to Mexico, in 1934 Orozco painted a mural,
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and paintings are exhibited by the Carrillo Gil Museum in
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Mural Painting and Social Revolution in Mexico, 1920–1940
2024:. Mexico: Universidad Autónoma Nacional de México 1995.
2003:. University of New Mexico Press. Albuquerque. 2001.
1853:(Re-issue ed.). New Haven: Yale University Press.
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encase the stairway on the east wall of the courtyard.
2150:, Oil on canvas; 178.4 x 122.6 cm, at Abstract-Art.com
191:(November 23, 1883 – September 7, 1949) was a Mexican
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Art in Latin America : the modern era, 1820–1980
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José Clemente Orozco in the United States, 1927–1934
1650:"Jose Clemente Orozco and Diego Rivera – The Murals"
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virtual tour of "The Epic of American Civilization"
1520:Orozco, Clemente, and José Clemente Orozco (2004).
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American Civilization: The Gods of The Modern World
365:on large walls, and elevated the art of the mural.
2296:Sueño de una Tarde Dominical en la Alameda Central
2118:Photographic portrait of Orozco by Berenice Abbott
2045:. Pittsburgh: University of Pittsburgh Press 2009.
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1719:(2nd ed.). New Haven: Yale University Press.
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728:, and at the intersection of the west corridor is
345:, he was a leader of the artist movement known as
322:was ousted, Orozco supported Carranza and General
231:. Between 1922 and 1948, Orozco painted murals in
215:, and others. Orozco was the most complex of the
2010:. Mexico City: Fondo de Cultura Econónimoca 1983.
382:Between 1922 and 1924, Orozco painted the murals
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2036:Man of Fire: J.C. Orozco: An Interpretive Memoir
2027:González Mello, Renato and Diane Miliotes, eds.
1796:. Baton Rouge: Louisiana State University Press.
837:, which are listed in order from left to right.
748:. An interesting element of the destroyed mural
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2066:. Guadalajara: Editorial Conexión Gráfica 1994.
552:huge portrait-mural was one of his last works.
1841:al.], Dawn Adams ; with contributions by
1715:Art and revolution in Latin America, 1910–1990
1252:American Civilization: Ancient Human Sacrifice
1246:American Civilization: Modern Human Sacrifice,
47:to make improvements to the overall structure.
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2097:. Cambridge University Press. New York. 1998.
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1683:. Austin; London: University of Texas Press.
732:. Among the murals that Orozco destroyed are
1873:: CS1 maint: multiple names: authors list (
1818:Mexican muralists: Orozco, Rivera, Siqueiros
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1476:Monica I. Orozco, "José Clemente Orozco" in
526:Art competitions at the 1932 Summer Olympics
357:. All three artists, as well as the painter
2232:History of Morelos, Conquest and Revolution
2013:Elliott, David, ed. Hurlburt, Laurance P.
2001:Orozco in Gringoland: the Years in New York
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2090:. Oxford University Press. New York. 1956.
2080:. University of Texas Press. Austin. 1962.
2015:The Mexican Muralists in the United States
1480:. Chicago: Fitzroy Dearborn 1997, p. 1935.
443:, Jalisco Governmental Palace, Guadalajara
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1767:. Cambridge: Cambridge University Press.
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1437:. University of Texas Press. p. 41.
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63:Learn how and when to remove this message
2883:Mexican expatriates in the United States
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2878:Olympic competitors in art competitions
2828:Members of El Colegio Nacional (Mexico)
1908:"José Clemente Orozco's 134th Birthday"
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1624:"The Catharsis by Orozco | Photo"
1501:from the original on November 12, 2018
1435:José Clemente Orozco: An Autobiography
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1334:from the original on December 20, 2008
812:
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1630:from the original on December 7, 2023
1388:from the original on November 1, 2022
1082:Jehovah Between the Rich and the Poor
998:celebrated his 134th birthday with a
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823:Jehovah Between the Rich and the Poor
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2215:
2166:and other murals at Hospicio Cabañas
1918:from the original on October 4, 2019
1491:"The Communist and the Conservative"
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181:National Prize for Arts and Sciences
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1892:A History of Mexican Mural Painting
1656:from the original on April 18, 2021
1414:from the original on March 29, 2019
659:. The central panel is "The Trench"
469:. One of his most famous murals is
13:
2858:Mexican people of Galician descent
2843:People from Ciudad Guzmán, Jalisco
1993:
1978:from the original on March 7, 2020
1948:from the original on June 15, 2020
1820:. San Francisco: Chronicle Books.
1522:José Clemente Orozco: Graphic Work
1458:from the original on July 24, 2022
883:
571:
541:The People and Their False Leaders
14:
2899:
2888:20th-century Mexican male artists
2853:Mexican people of Spanish descent
2848:Mexican people of Italian descent
2272:The Epic of American Civilization
2139:José Clemente Orozco's Prometheus
2101:
2052:. Mexico: Plaza y Valdés, 2012.
1604:from the original on July 6, 2020
606:The Epic of American Civilization
582:The Epic of American Civilization
555:In 1947, he illustrated the book
524:). His work was also part of the
471:The Epic of American Civilization
2404:Desiderio Hernández Xochitiotzin
1305:Un siglo de caricatura en México
1211:The Destruction of the Old Order
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706:The Destruction of the Old Order
682:The Destruction of the Old Order
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1930:
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1834:
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1410:. A&E Television Networks.
199:, who specialized in political
2038:. Westport CT: Greenwood 1959.
2022:Orozco: Pintor Revolucionario?
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1433:Orozco, José Clemente (1962).
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1360:. Phaidon. 2004. p. 345.
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1023:Whitney Museum of American Art
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548:in Mexico City. Orozco's 1948
518:Modern Migration of the Spirit
459:New School for Social Research
1:
2863:20th-century Mexican painters
1524:. University of Texas Press.
1283:
1242:At Dartmouth College Library
1058:Man Struggling Against Nature
738:Man Struggling Against Nature
642:Escuela Nacional Preparatoria
92:
2873:Academy of San Carlos alumni
2142:Pomona College Museum of Art
1307:. México: Grijalbo. 168 pp.
1181:Franciscans Helping the Sick
1046:Tomb of José Clemente Orozco
906:Franciscans Helping the Sick
712:are located to the right of
396:Destruction of the Old Order
388:Man in Battle Against Nature
7:
2156:Christ Destroying his Cross
1888:Rodriguez, Antonio (1969).
1763:Folgarait, Leonard (1998).
1266:
1070:Christ Destroying His Cross
750:Christ Destroying His Cross
746:Christ Destroying His Cross
412:National Preparatory School
293:Prometeo del Pomona College
10:
2904:
2532:Faculty of Arts and Design
1816:Rochfort, Desmond (1993).
989:
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300:The satirical illustrator
16:Mexican artist (1883–1949)
2823:Artists with disabilities
2808:Mexican portrait painters
2627:Gabriel Fernández Ledesma
2617:Francisco Eppens Helguera
2539:
2459:Vlady Kibalchich Russakov
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2320:La Marcha de la Humanidad
2223:
1580:December 6, 2019, at the
1556:December 7, 2023, at the
1087:At San Ildefonso College
621:Departure of Quetzalcoatl
522:Christ Destroys His Cross
441:Miguel Hidalgo y Costilla
392:Christ Destroys His Cross
205:Mexican Mural Renaissance
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162:
148:
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124:
102:
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2338:Museo Mural Diego Rivera
2133:Dartmouth Digital Orozco
2128:Orozco at MexConnect.com
2076:Orozco, Jose Clemente.
2069:Orozco, Jose Clemente.
2020:González Mello, Renato.
2006:Cardoza y Aragon, Luis.
1942:hoodmuseum.dartmouth.edu
635:Gods of the Modern World
207:together with murals by
2687:Nicolás Moreno (artist)
2469:Manuel Rodriguez Lozano
2399:Jorge González Camarena
2264:Detroit Industry Murals
2171:April 21, 2019, at the
1788:Rodman, Selden (1960).
1675:Edwards, Emily (1966).
1238:Cleveland Museum of Art
1229:Cleveland Museum of Art
1097:The Banquet of the Rich
795:The Banquet of the Rich
730:The Banquet of the Rich
698:The Banquet of the Rich
270:
2813:Social realist artists
2803:Mexican genre painters
2727:Alfredo Ramos Martínez
2557:Ramón Alva de la Canal
2547:Rodolfo Aguirre Tinoco
2434:Ramón Alva de la Canal
2374:Alfredo Ramos Martínez
2364:David Alfaro Siqueiros
1711:Craven, David (2002).
1594:"José Clemente Orozco"
1478:Encyclopedia of Mexico
1452:"José Clemente Orozco"
1382:"José Clemente Orozco"
1047:
1039:
994:On November 23, 2017,
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809:
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763:
660:
591:Baker Memorial Library
585:in the lower level of
444:
379:
355:David Alfaro Siqueiros
297:
249:Hanover, New Hampshire
213:David Alfaro Siqueiros
167:Mexican Mural Movement
2868:Mexican male painters
2677:Luis Ortiz Monasterio
2474:Jorge Figueroa Acosta
2343:San Ildefonso College
2280:Man at the Crossroads
2240:The History of Mexico
2062:Orea Marín, Augusto.
1944:. February 23, 2018.
1914:. November 23, 2017.
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783:San Ildefonso College
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657:San Ildefonso College
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539:, Jalisco, the mural
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311:Academy of San Carlos
302:José Guadalupe Posada
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241:Claremont, California
203:that established the
2833:Artists from Jalisco
2742:Sebastián (sculptor)
2637:Arturo García Bustos
2612:Francisco Dosamantes
2602:José Clemente Orozco
2562:Carlos Alvarado Lang
2369:José Clemente Orozco
2093:Folgarait, Leonard.
2041:Indych-López, Anna.
1999:Anreus, Alejandro.
655:Murals by Orozco at
647:History and overview
520:(another version of
361:, experimented with
257:Jiquilpan, Michoacán
253:Guadalajara, Jalisco
189:José Clemente Orozco
79:José Clemente Orozco
2732:Aurora Reyes Flores
2179:Orozco: Man of Fire
1896:. New York: Putnam.
1571:College Art Journal
1187:Cortés and Malinche
1169:The Revolutionaries
1018:, Hanover NH, 2002.
926:Cortés and Malinche
914:Cortés and Malinche
871:The Revolutionaries
813:Second floor murals
576:Orozco painted his
316:Venustiano Carranza
135:Mexico City, Mexico
45:editing the article
2818:Mexican communists
2682:Roberto Montenegro
2642:Alfredo Guati Rojo
2597:José Chávez Morado
2567:Luis Arenal Bastar
2424:José Chávez Morado
2379:Roberto Montenegro
2288:Pan American Unity
2108:Portrait of Orozco
1330:. Mexico Connect.
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1016:Hood Museum of Art
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841:Third floor murals
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495:The Appearance of
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144:San Carlos Academy
2788:Mexican muralists
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2592:Julio Castellanos
2572:Margarita Azurdia
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2444:Amado de la Cueva
2034:Helm, MacKinley.
1030:Selected artworks
1025:, New York, 2020.
716:. To the left of
587:Dartmouth College
546:Hospital de Jesús
475:Dartmouth College
320:Victoriano Huerta
217:Mexican muralists
186:
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128:September 7, 1949
113:November 23, 1883
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38:layout guidelines
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2662:Irving Kriesberg
2622:Manuel Felguérez
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2449:Fermín Revueltas
2217:Mexican muralism
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2078:An Autobiography
2048:Jaimes, Héctor.
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902:Aboriginal Races
851:The Grave Digger
806:Law and Justice,
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2073:. Austin. 1974.
2064:Orozco: El Mito
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465:, now known as
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343:Diego Rivera
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229:lithographer
209:Diego Rivera
193:caricaturist
188:
187:
130:(1949-09-07)
59:
53:January 2020
50:
35:
18:
2798:1949 deaths
2793:1883 births
2707:Sandra Pani
2667:Jorge Marín
2299:(1946-1947)
2275:(1932-1934)
2267:(1932-1933)
2243:(1929-1935)
2235:(1929-1930)
2181:documentary
2164:Man of Fire
1972:whitney.org
1573:(1957): 2.
1273:Mexican art
1151:The Workers
1064:Man Falling
1006:Exhibitions
859:The Workers
788:The Trinity
760:The Trench,
742:Man Falling
726:The Trinity
694:The Trinity
608:(1932–1934)
537:Guadalajara
422:Mexico City
417:Omniscience
408:The Trinity
265:Mexico City
233:Mexico City
96: 1930
2782:Categories
2657:Jazzamoart
2312:Still Life
2248:Prometheus
2084:Reed, Alma
1922:October 4,
1860:0300045611
1774:0521581478
1726:0300082118
1690:029273624X
1608:August 10,
1531:0292702493
1313:9684194250
1284:References
1219:The Subway
1205:The Trench
1163:The Family
1103:The Strike
867:The Family
767:The Trench
722:The Strike
718:The Trench
714:The Trench
702:The Trench
690:The Strike
678:The Trench
487:Migrations
454:Prometheus
404:The Trench
306:engravings
109:1883-11-23
1982:March 11,
1952:March 11,
1869:cite book
1843:Guy Brett
1660:March 22,
1634:March 23,
1598:Olympedia
1551:pp. 11–12
1540:cite book
1495:The Attic
1418:April 26,
1201:, 1924–26
1199:Engineers
1195:, 1924–26
1189:, 1924–26
1183:, 1924–26
1177:, 1924–26
1171:, 1924–26
1165:, 1924–26
1159:, 1924–26
1153:, 1924–26
1147:, 1924–26
1141:, 1924–26
1135:, 1924–26
1129:, 1923–24
1123:, 1923–24
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1111:, 1923–24
1105:, 1923–24
1099:, 1923–24
1093:, 1923–24
1091:Maternity
1084:, 1923–24
1078:, 1923–24
1072:, 1923–24
1066:, 1923–24
1060:, 1923–24
1054:, 1900–24
910:The Youth
710:Maternity
686:Maternity
558:The Pearl
384:Maternity
221:Symbolism
141:Education
2169:Archived
1976:Archived
1946:Archived
1916:Archived
1654:Archived
1628:Archived
1602:Archived
1578:Archived
1554:Archived
1499:Archived
1462:July 24,
1456:Archived
1412:Archived
1392:July 18,
1386:Archived
1332:Archived
1303:(1984).
1267:See also
1236:, 1930,
1227:, 1930,
1127:The Rich
835:The Rich
831:Garbage,
430:Veracruz
326:against
304:, whose
261:drawings
163:Movement
157:Muralist
153:Painting
119:, Mexico
91:Orozco,
2540:Artists
2534:of UNAM
2352:Artists
2331:Museums
2323:(1960s)
1121:Garbage
1115:Liberty
990:Tribute
933:Gallery
827:Liberty
514:Science
426:Orizaba
410:at the
281:Jalisco
237:Orizaba
197:painter
2315:(1954)
2307:(1954)
2291:(1940)
2283:(1934)
2259:(1932)
2251:(1930)
2224:Murals
2148:Zapata
2088:Orozco
2056:
2008:Orozco
1912:Google
1857:
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1254:, 1932
1221:, 1928
1213:, 1926
1207:, 1926
996:Google
869:, and
744:, and
696:, and
578:fresco
378:, 1925
372:Mural
363:fresco
296:, 1930
259:. His
255:, and
201:murals
177:Awards
1575:JSTOR
1289:Notes
1133:Women
847:Women
561:, by
341:With
2054:ISBN
1984:2020
1954:2020
1924:2019
1875:link
1855:ISBN
1822:ISBN
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1721:ISBN
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1636:2021
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1546:link
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