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Mexican muralism was a 20th century phenomenon. It was an art movement generated by the Mexican government after the Mexican Revolution (1910–1920). The Mexican Revolution was first of the great revolutions of the 20th century. The new Mexican government wanted a visual depiction of Mexico's past, present, and future. There was a need to promote national pride in a country torn asunder by the violence of the Revolution. And it could transform the walls of public buildings. This was important in a country with a high level of uneducated and illiterate peasants. The new Partido Revoluciario Institucional (PRI) which emerged from the Revolution wanted to show case a new socialistic vision. This is how the PRI wanted to mold a new indigenous depiction of Mexico's past. The imprint of indigenous art like the Bonampak murals is apparent. As is the socialist vision of the country's future. The resulting murals were large public artworks painted onto walls or the interiors of public buildings. They had potentially explosive social, political, and historical messages. Very eraly in the 1920s, the "Big Three" of the muralist movement became dominant. They were Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. We have used the work of some of these murals to illustrate history pages, such as Diego Rivera and Jose Clemnte Orozco. The movement was dominated by men, but thee were a few women as well. The Great Depression added to the socialist orientation of the muralists (1939s). Important groups even financed projects in the United States. Although critical of American capitalists, the muralists had o problem with fat pay offs. At home into the 1970s we see murals with nationalistic often tinged with indigenous faces, social and political messages were created in a range of public places: chapels, government buildings, schools and other settings. he popularity of the Mexican muralist continues to this day. All of which is interesting because the socialist underpinnings have failed in Mexico as it does wherever tried. What has succeeded and powered Mexico's modern economic success is capitalism, routinely criticized by the muralists. But as Siqueiros wrote, "The artist must paint as he would speak. I do not want people to speculate what I mean, I want them to understand." This of course means what he paints is emotion and not a future based on facts. It certainly appealed to totalitarians. Trotsky wrote, "Do you wish to see with your own eyes the hidden spring of the social revolution? Look at the frescoes of Riveras. Do you wish to know what revolutionary art is like? Look at the frescoes of Rivera." The revolutionaries are often eaten buy the Revolution. This was certainly the case of the French. Mexican, and Russian Revolution. It is perhaps apropos that Trotsky met his fate in Mexico.
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