Documents of Latin American and Latino Art

In this text, José Clemente Orozco marks his distance from the ideological and aesthetic positions of either Diego Rivera or David Alfaro Siqueiros. Without mentioning them by name, Orozco criticizes the political orientation that [...]

In this text, the painter José Clemente Orozco states that the “Manifiesto del Sindicato” [the Painters and Sculptors Manifesto] is “extraordinarily important; its influence has been felt for two decades and younger painters [...]

In this document, José Clemente Orozco provides a vast panorama of what he believes was thought in Mexico in 1920 regarding art: 1. Any person could feel he was a painter; 2. Pre-Cortés art was the only tradition and everyone spoke of [...]

This is an autobiographical account by the Mexican muralist José Clemente Orozco that reveals the extraordinary influence exerted on his life and work by Dr. Atl. When Dr. Atl returned from Europe, he sought the support of his old colleagues [...]

This article centers on two events: Orozco’s participation in the student exhibition at the Academia de Bellas Artes de San Carlos during the critical year of 1910 and his start as a caricaturist for opposition newspapers. The government [...]

José Clemente Orozco calls for the production of a new brand of art produced in the Americas—what he calls the “New World”—that constitutes a “new spiritual and physical medium.” This art is neither rooted [...]

David Alfaro Siqueiros, José Clemente Orozco and Xavier Guerrero signed this article in which they refute the assertions published by the Federación de Estudiantes Preparatorianos [Federation of Preparatory Students] and they list, one after [...]

In this brief excerpt from his autobiography, José Clemente Orozco describes his stay in Orizaba during the Mexican revolution. Of interest is Orozco’s mention of Dr. Atl, whom he refers to as a friend and as the founding father of the [...]

This document includes an article in which José Clemente Orozco vents his negative opinion regarding symposia. He remarks that instead of wasting money on the artificial and pedantic speeches regarding the relationship between art and the [...]