what art styles were used during the mexican revoluton
Answers
Explanation:
PHILADELPHIA — In 1910, the Mexican people overthrew the corrupt and sclerotic dictatorship of Porfirio Díaz, who had ruled the country for decades with authoritarian rigor. Years of violence, civil war and assassinations ensued before the country stabilized under an “institutional” revolutionary party, which grew progressively more hierarchical and autocratic.
Outside Mexico, the revolution is remembered in large part through the mural style of Diego Rivera. It seems a colorful event, dense and teeming with people, yet rigidly choreographed, like theatrical spectacle. But look a little closer, and Rivera’s stolid and statuesque rural peasants, industrial workers and revolutionary fighters don’t really have much character. Their faces, if we can see them at all, are blank and expressionless, more a collection of racial and ethnographic types than actual people. And there is little in his static pageantry to suggest the violence of revolution, or much more than a caricature of the things that caused it.
An engrossing exhibition at the Philadelphia Museum of Art, “Paint the Revolution: Mexican Modernism, 1910-1950,” includes an ample cross section of Rivera’s work and several iconic pieces by his wife, Frida Kahlo, who was a more emotionally searching painter. And it includes the work of the other great muralists and artists who captured the spirit of the moment — and the imagination of the world — including José Clemente Orozco and David Alfaro Siqueiros. But it goes well beyond these international art stars of the era, exploring the work of modernist artists who were not overtly political — painters who never fell into political lockstep with the often ugly and parochial nationalism that was the dark side of the revolution — and movements and countermovements of artists who looked to Europe and the wider art world for inspiration. If nothing else, this exhibition puts a face, often literally, on the human figures who gather all too obediently and orderly in the great murals of Rivera and his visually muscular confreres.
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