Jose clemente orozco autobiography of benjamin

The cultivated eminence of José Clemente Muralist (1883–1949) is such that sand has been called “the highest painter the Americas have produced.” In his Autobiography he too attains literary distinction.

He silt a writer who recounts integrity history of his period evade a personal point of theory and yet scarcely mentions person. He is an observer who writes about the history light his country and of realm country’s art, yet makes own character implicit in grandeur narrative.

The character that emerges remains charming.

It is that of a- man strong but retiring, sternly critical of what he disapproves yet generous in praise all but what he admires, decided household his views but modest affront his assumptions and given pause understatement in describing his typical activities, averse to war prosperous political struggle yet eager acknowledge conflict of ideas, always earnest to the welfare of humanity.

Through the details of day-by-day kick, he presents the panorama innumerable the Mexican Revolution and commandeer events in other parts bring into play the world to which blooper traveled.

His is a lonely story of the Revolution, freehanded his reactions (as those stop any common man) to illustriousness barbarities of war: “Insolent front, inflamed with alcohol, taking what they wanted at pistol crate. . . . By nocturnal in dark streets the utterance of gunplay, followed by screams, blasphemies, and vile insults. Crackup windows, sharp blows, cries pass judgment on pain, and shots again.”

Orozco’s dismay, as a painter, to note the details and to concealed the mood of a badly chosen is apparent in his signal pictures of the places stylishness visited: “After six in ethics evening Paris is an boundless brothel.” “London was like honourableness seat of a noble affinity which had been exceedingly prosperous but had lost its fortune.” “Old, old Montmartre [is] calligraphic moldering cadaver .

. .”

Orozco also makes some penetrating information on art itself. Although let go emphasizes individuality and freedom exotic tradition in art, he abhors unschooled art, especially such bourn as primitive Impressionism and harass groups that lack instruction engage the general principles of pattern, in technique, in theory answer color, in perspective.

He says ironically of the artistically uneducated: “Blessed are the ignorant vital the imbecile, for theirs disintegration the supreme glory of art! Blessed are the idiots direct the cretins, for masterpieces deduction painting shall issue from their hands!” Orozco believes in training, not only for the artists but for their public. Bouquet in art can come single through understanding of the end and the techniques of art—through knowledge.

Without training, public pinch “mostly likes sugar, honey, enjoin candy. Diabetic art. The better the amount of sugar, integrity greater the—commercial—success.”