Relevant bibliographies by topics / José Clemente Orozco

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Academic literature on the topic 'José Clemente Orozco'

Author: Grafiati
Published: 5 June 2025
Last updated: 15 July 2025

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Journal articles on the topic "José Clemente Orozco"

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Rashkin, Elissa J. "José Clemente Orozco, Caricaturista." La Palabra y el Hombre, revista de la Universidad Veracruzana 1, no. 43 (2018): 44–48. http://dx.doi.org/10.25009/lpyh.v1i43.2532.

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José Clemente Orozco es conocido sobre todo por sus murales, pero su trabajo como caricaturista, oficio que ejerció durante décadas, ha tenido poca difusión. De ahí la importancia de la exposición "José Clemente Orozco: obra gráfica", presentada en 2017 en Xalapa y en el Puerto de Veracruz, que reunió 67 piezas de las 234 que resguarda el acervo del Instituto Veracruzano de la Cultura (Ivec). En ellas satiriza la hipocresía del amor romántico y el matrimonio, la infidelidad, la coquetería femenina, la violencia doméstica, la moral de los clérigos, los embarazos vergonzosos y las mentiras que l
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Fernández, Justino. "Autobiografía, de José Clemente Orozco." Anales del Instituto de Investigaciones Estéticas 4, no. 15 (2012): 115. http://dx.doi.org/10.22201/iie.18703062e.1947.15.440.

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Hernández Luna, Jesús Adrián. "Análisis iconográfico: Sacrificio humano de José Clemente Orozco." Edähi Boletín Científico de Ciencias Sociales y Humanidades del ICSHu 9, no. 18 (2021): 27–38. http://dx.doi.org/10.29057/icshu.v9i18.6821.

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Este artículo se centra en la investigación sobre la obra “Sacrificio humano” de José Clemente Orozco, cuyos objetivos son: analizar diversas fuentes tanto etnohistóricas como contemporáneas, distinguir las diversas influencias artísticas en la obra de Orozco, analizar la obra con el método iconográfico y comprender lo que la obra Sacrificio Humano busca transmitir a los espectadores.
 Orozco es resultado de su época, el periodo en el que vivió estuvo plagado de conflictos bélicos, nacionalismos e incertidumbre. La obra Sacrificio humano busca cuestionar la época y la idea de la guerra, e
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Sánchez López, Indira. "El mural Revolución Social, entre la alegoría y la crítica: una aproximación." Balajú. Revista de Cultura y Comunicación de la Universidad Veracruzana, no. 21 (November 27, 2024): 80–100. https://doi.org/10.25009/blj.i21.2683.

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Este artículo presenta un análisis del mural Revolución Social (1926) del pintor mexicano José Clemente Orozco. Toma como base el método iconográfico propuesto por Erwin Panofsky para contextualizar las escenas que conforman su narrativa visual e interpretar el planteamiento que realiza Orozco en torno al proceso de la Revolución mexicana y la síntesis plástica que ofrece sobre él a través de un lenguaje figurativo y simbólico. Asimismo, se pretende discutir algunas características temáticas y estilísticas presentes en la iconografía mural del artista y que sustentan su estética. Para finaliza
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Navarro Ramírez, Jorge Luis. "José Clemente Orozco: El fundador del muralismo en México." Horizonte Histórico - Revista semestral de los estudiantes de la Licenciatura en Historia de la UAA, no. 19 (July 1, 2019): 41–52. http://dx.doi.org/10.33064/hh.vi19.2303.

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En el siguiente trabajo se tiene como objetivo dar una breve reseña sobre la vida y contribuciones del artista jalisciense José Clemente Orozco. Se darán a conocer temas propios de su estilo y su simbolismo, mismo que lo caracteriza hasta hoy día, relatando la vida del autor desde sus primeros andamiajes de artista, dando repaso hacia las instituciones que forjaron a José Clemente Orozco para su iniciación al muralismo. Dentro de la vida del artista es importante resaltar el contexto social que se vivía, puesto que estos años se vivía la posrevolución, misma que traería como inspiración el sen
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Fernández, Justino. "José Clemente Orozco, de Luis Cardoza y Aragón." Anales del Instituto de Investigaciones Estéticas 3, no. 12 (2012): 77. http://dx.doi.org/10.22201/iie.18703062e.1945.12.389.

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Toscano, Salvador. ""José Clemente Orozco. Forma e idea", de Justino Fernández." Anales del Instituto de Investigaciones Estéticas 3, no. 9 (2012): 106. http://dx.doi.org/10.22201/iie.18703062e.1942.9.331.

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Indych, Anna. "Made for the Usa: Orozco´s Horrores de la Revolución." Anales del Instituto de Investigaciones Estéticas 23, no. 79 (2012): 153. http://dx.doi.org/10.22201/iie.18703062e.2001.79.2087.

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This paper traces the development of a body of drawings by José Clemente Orozco known upon their commission as Los Horrores de la Revolución (1926-1928), and their relation to his murals at the Escuela Nacional Preparatoria, in light of the political pressures of the post-revolutionary regime in Mexico, and the demands of the New York art market.
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Del Conde, Teresa. "José Clemente Orozco. En Torno a las "Cartas a Margarita"." Anales del Instituto de Investigaciones Estéticas 15, no. 58 (1987): 111. http://dx.doi.org/10.22201/iie.18703062e.1987.58.1364.

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Hartz, Lisa Beech. "Portrait of José Clemente Orozco, Doris Ulmann, New York City, 1929." Massachusetts Review 57, no. 3 (2016): 566. http://dx.doi.org/10.1353/mar.2016.0078.

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Dissertations / Theses on the topic "José Clemente Orozco"

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SANCHEZ, LOPEZ INDIRA 367474, and LOPEZ INDIRA SANCHEZ. "Nacionalismo e Identidad Nacional en la Obra Mural de José Clemente Orozco y Alfredo Zalce." Tesis de maestría, Universidad Autónoma Del Estado De México, 2012. http://hdl.handle.net/20.500.11799/49434.

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El arte a través de sus diferentes formas de expresión es un vehículo constante en la manifestación de ideas, sentimientos, deseos y pensamientos, tanto individuales como colectivos. Aun siendo un modo de expresión personal, la creación espera ser asimilada, comprendida, criticada, juzgada o adulada en un contexto socio-histórico determinado. En este sentido, el arte posee una función social; las corrientes y escuelas del arte se caracterizan por compartir cualidades no sólo plásticas sino también por abordar temáticas similares, lo que hace de ellas un modo particular de acercarse a los disti
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Santiago, Maycom Pinho. "México mural : Rivera, Siqueiros e Orozco em perspectiva decolonial." reponame:Repositório Institucional da UnB, 2018. http://repositorio.unb.br/handle/10482/32521.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Sociais, Departamento de Estudos Latino-Americanos, Programa de Pós-Graduação em Estudos Comparados Sobre as Américas, 2018.<br>Submitted by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-22T21:39:21Z No. of bitstreams: 1 2018_MaycomPinhoSantiago.pdf: 1832903 bytes, checksum: 59270e69a34a3f37ae12dafaa65c47e2 (MD5)<br>Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-27T22:27:45Z (GMT) No. of bitstreams: 1 2018_MaycomPinhoSantiago.pdf: 1832903 bytes, checksum: 59270e69a34a3f37ae12dafaa65c4
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Gerotto, Alice <1994&gt. "Diego Rivera, David Alfaro Siqueiros, José Clemente Orozco, e Rufino Tamayo. Mostre di arte messicana in Italia. Analisi di una fortuna critica dalla XXV Biennale del 1950." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17236.

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Questa tesi si occupa dei rapporti culturali tra Italia e Messico, analizzando la situazione che si viene a creare dalla venticinquesima edizione della Biennale di Venezia, che per la prima volta in Europa espone ufficialmente le opere dei “Quattro grandi” dell’arte contemporanea messicana, protagonisti di quel rinnovamento delle arti che caratterizza il loro inizio Novecento: Diego Rivera, David Alfaro Siqueiros, José Clemente Orozco e Rufino Tamayo. La ricerca ha evidenziato come prima di questa occasione non esistesse un interesse critico rispetto a tali pittori e il merito della Biennale d
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Jensen, Anna M. "Modernity and the Good Death : Heidegger and Jose Clemente Orozco's Epic of American Civilization /." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1905.

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This thesis will analyze José Clemente Orozco's mural The Epic of American Civilization in terms of the problem of suffering. It will focus specifically on two panels, “Human Sacrifice in Ancient Times” and “Human Sacrifice in Modern Times.” This analysis will comprehend not only the works of art within their historical context, but also within Martin Heidegger's philosophical discussion of the question of suffering. Heidegger presents a unique perspective on the question of human suffering when he writes that Western humans have forgotten how to “dwell.” This dwelling is defined by Heidegger'
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Rodriguez, Abigail E. "Playing With Fire: An Examination of the Context and Conservation of Jose Clemente Orozco's Prometheus." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/860.

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Tucked within Pomona College’s campus in Claremont, California, sits Frary Hall, the home of Mexican muralist Jose Clemente Orozco’s first work in the United States. The mural, titled Prometheus (1930), has been subjected to many instances of vandalism over the years. Thus, in 1980, a protective coating was applied. Today, the coating, a highly-reflective varnish, has been noted as a hindrance of the fresco’s original matte surface. Using case studies and art historical analysis, this thesis examines the importance of the mural within the history of Mexican muralism and the pros and cons of re
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Books on the topic "José Clemente Orozco"

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Clemente, Orozco José. José Clemente Orozco. Hacker Art Books, 1985.

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Tibol, Raquel. José Clemente Orozco. Galeria Enrique Guerrero, 1998.

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editor, Ramírez Campuzano Olga, ed. José Clemente Orozco: Murales. Instituto Cultural Cabañas, 2015.

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Morales, Julio Cesar. José Clemente Orozco: Final cut. Temblores Publicaciones, 2020.

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1883-1949, Orozco José Clemente, ed. José Clemente Orozco: Graphic work. University of Texas Press, 2004.

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Clemente, Orozco José. José Clemente Orozco. Hacker Art Books, 1985.

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Miguel, Cervantes, MacKenzie Beatriz, Instituto Cultural Cabañas (Guadalajara, Mexico), and Antiguo Colegio de San Ildefonso (Museum), eds. José Clemente Orozco: Pintura y verdad. Instituto Cultural Cabañas, 2010.

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1883-1949, Orozco José Clemente, ed. José Clemente Orozco: El Orfeo mexicano. Universidad de Guadalajara, Centro Universitario de Arte, Arquitectura y Diseño, 2004.

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L, Harth Marjorie, Orozco José Clemente 1883-1949, and Pomona College (Claremont, Calif.). Museum of Art., eds. José Clemente Orozco: Prometheus. Pomona College Museum of Art, 2001.

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Mello, Renato González. José Clemente Orozco: La pintura mural mexicana. Consejo Nacional para la Cultura y las Artes, Dirección General de Publicaciones, 1997.

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Book chapters on the topic "José Clemente Orozco"

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Caplow, Deborah. "Orozco, José Clemente (1883–1949)." In Routledge Encyclopedia of Modernism. Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2047-1.

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José Clemente Orozco was one of a trio of painters of the Mexican Mural Movement, called Los Tres Grandes (The Three Great Ones), the others being Diego Rivera and David Alfaro Siqueiros. Known for his bleak view of history, his murals are often bitter condemnations of human barbarity. He studied painting at the Academy of San Carlos, and in 1923 Minister of Education Jose Vasconcelos commissioned him to paint murals at the Escuela Preparatoria Nacional (National Preparatory School); these focused on Mexican history, including the Conquest of Mexico and the Mexican Revolution.
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Dalton, David S. "Painting Mestizaje in a New Light." In Mestizo Modernity. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9781683400394.003.0003.

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This chapter analyzes the state-funded murals of Diego Rivera and José Clemente Orozco, two artists who served as de facto mouthpieces for the state as they trumpeted the postrevolutionary tenets of official mestizaje through their work. Despite sharing the state’s seal of approval, the two men communicated contradictory racial discourses as they disagreed about the proper place of the nation’s European and indigenous heritage within the official ideology. That said, both men’s work was pro-mestizo despite the fact that they conceived mixed-race identity in very different ways. Orozco’s understanding of racial and technological hybridity tended toward hispanismo as he constantly validated the result—if not the means—of the Spanish conquest. Unlike Orozco, Rivera carefully separated European science—which he celebrated—from the cosmology that had permitted the destruction of thousands of indigenous lives. Instead, he posited an essentialistic indigenous spirit that would redeem mestizo Mexico from the conquering nature it had inherited from its European progenitors. This paternalistic understanding of indigeneity led to an indigenista discourse that became the favored paradigm of official mestizaje throughout the mid-twentieth century.
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Snow, K. Mitchell. "Ballets without Ballerinas?" In A Revolution in Movement. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066554.003.0009.

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The production of socially conscious dance associated with the Lázaro Cárdenas administration suffered a decline when his successor pointed Mexico in a more conservative direction in terms of economic and cultural policy. Ballet temporarily re-emerged as the favored form. Foreign ballet companies figured prominently in the programming decisions of the government’s Palacio de Bellas Arte and the Ballet Theatre’s production of a Mexican-themed ballet, Léonide Massine’s Don Domingo de Don Blas revived Mexican aspirations for increased international exposure through ballet. On a bet, the government even extended its support to the creation of the Ballet de la Ciudad de Mexico, led by Nellie and Gloria Campobello. While initially well-received, the company soon fell into disfavor; the critics could applaud the scenery, created by the likes of the company’s spokesman José Clemente Orozco, but not the dance for which it had been designed.
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O'Malley, Seamus. "Governing The People." In Irish Culture and “The People”. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192858412.003.0007.

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Abstract This chapter spans the Revolution to the declaration of a Republic. Both Free Staters and Republicans claimed to act on behalf of The People; both deeply distrusted those they thought of as The People. Republican contradictions find voice in Constance Markievicz, who simultaneously expressed the belief in the essential nature of the Irish nation while also advocating socialism. Éamon de Valera cannily deployed populist strategies to return to power, and this chapter explores how his newspaper The Irish Press produced a new version of The People. Ernie O’Malley advanced a radically different form of Republicanism in his memoir On Another Man’s Wound (1936), marking one of the boldest attempts to get close to The People. O’Malley signals that his aesthetic project—informed by similar revolutionary republican challenges met by Mexican muralists like José Clemente Orozco and Diego Rivera—might be doomed to failure, The People beyond empirical representation. Yet his aesthetic solutions are lasting and contribute a rich representation of The People. In popular discourse, however, populist vocabulary was wearing thin, especially the increasingly hackneyed phrase “the plain people of Ireland.” That such a phrase becomes the direct subject of two writers, Seán Ó’Faoláin and Myles na gCopaleen/Flann O’Brien, signals the weakening of populism’s effectiveness: phrases like “The People” lose their power when scrutinized. For na gCopaleen especially, the regular appearance of “The Plain People of Ireland” in his column Cruiskeen Lawn marks the end of populism’s reign in Ireland.
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"The Sickle, the Serpent, and the Soil: History, Revolution, Nationhood, and Modernity in the Murals of Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros." In The Eagle and the Virgin. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822387527-005.

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Folgarait, Leonard. "5. José Clemente Orozco’s Use of Architecture in the Dartmouth Mural." In Mexican Muralism. University of California Press, 2012. http://dx.doi.org/10.1525/9780520352582-008.

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Coffey, Mary K. "Myth, Melancholy, and History: Figural Dialectics and José Clemente Orozco's Epic of American Civilization." In What Was History Painting and What Is It Now? McGill-Queen's University Press, 2019. http://dx.doi.org/10.1515/9780228000358-008.

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Reports on the topic "José Clemente Orozco"

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Graphics from Latin America and the Caribbean: September 10 - November 15, 2002. Inter-American Development Bank, 2002. http://dx.doi.org/10.18235/0005919.

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20 lithographs, etchings, linocuts, woodcuts, silkscreens and other works in various graphic techniques by artists from the Americas were presented at the Robert V. Fullerton Art Museum, California State University, San Bernardino, California. This is the first group exhibition organized by the museum of works on paper by some of the most recognized artists of the 20th century from Latin America and the Caribbean. It includes graphics by José Clemente Orozco, Diego Rivera, David Alfaro Siqueiros; Roberto Sebastián Matta; Enrique Grau, and others.
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Graphics from Latin America and the Caribbean: January 18th - March 9th, 2002. Inter-American Development Bank, 2002. http://dx.doi.org/10.18235/0005918.

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43 lithographs, etchings, linocuts, woodcuts, silkscreens and other works in various graphic techniques by 40 artists from the Americas were presented at the Riverside Art Museum, Riverside, California. On loan from the IDB Cultural Center; the artistic holdings serve to promote understanding of the cultural heritage of its member countries. Included in the exhibit are graphics by important 20th century Mexican muralists José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros; the surrealist Roberto Sebastián Matta; Carlos Mérida and others.
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