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	AllRefer.com - JosE Clemente Orozco (Latin American Art, Biography) - Encyclopedia
		JosE Clemente Orozco[hOsA´ klAmAn´tA OrO´skO] Pronunciation Key, 1883–1949, Mexican muralist, genre painter, and lithographer, grad.
		Orozco's work is bold in execution, often brilliant in color, and deals compassionately with social themes, especially human versus machine.
		From 1917 to 1919 and from 1927 to 1934, Orozco was in the United States.
	reference.allrefer.com /encyclopedia/O/Orozco-J.html (301 words)

	José Clemente Orozco - Wikipedia, the free encyclopedia
		José Clemente Orozco (born November 23, 1883, in Zapotlán el Grande (now Ciudad Guzmán), Jalisco; died September 7, 1949, in Mexico City) was a Mexican social realist painter who specialized in bold murals.
		Orozco was fond of the theme of the human versus the mechanical.
		While Diego was a bold, optimistic figure, touting the glory of the revolution, Orozco was less comfortable with the bloody toll the social movement was taking.
	en.wikipedia.org /wiki/Jose_Orozco (311 words)

	[No title] (Site not responding. Last check: 2007-10-19)
		Jose Clemente Orozco was born on November 23, 1883 in Jalisco, Mexico.
		Orozco illustrates the power of his painting in a clear depiction of the death soldiers during the revolution in The Trench.
		Orozco is successful in depicting an accturate account of man's personal suffering without overpowering it with emotion.
	www.wfu.edu /academics/history/StudentWork/fysprojects/kmason/Orozco.htm (370 words)

	Table of Contents and Excerpt, Orozco, José Clemente Orozco
		Orozco always started a new work with great alacrity and professional passion, whether he dealt with formidable projects or with works in the simplest format.
		Orozco illustrated some of the books in the classical text collection published by the National Autonomous University of Mexico (UNAM) during the tenure of José Vasconcelos, secretary of public education, in 1923.
		Orozco dedicated three well-defined periods to this art: 1928-1930, 1935, and 1944, which correspond to the series in New York, in Coyoacán, and on Ignacio Mariscal in Mexico City, respectively.
	www.utexas.edu /utpress/excerpts/exorocle.html (895 words)

	New School Frescoes of José Clemente Orozco
		Orozco offers this table, with it's solitary book and calming blue background, as the solution to the strife and political turmoil that characterize the two side panels of the mural.
		Orozco was never considered a Communist, and it is obvious that Orozco couldn't have been endorsing all of the ideologies present in ACRUB, since Gandhi, portrayed in the next mural, never, and could never have, approved of the violent revolution that brought Lenin to power.
		Orozco's later work, in extreme contrast, tells us that such a future is not possible through any ideology: credos war against one another, technology grinds away at our humanity and we can have hope only in the idea that by chopping down our crosses we might migrate the spirit.
	www.ericrosenfield.com /orozco.html (1888 words)

	HISTORY OF MEXICO - TRAGEDY AND TRIUMPH: THE DRAMA OF JOSE CLEMENTE OROZCO - BY JIM TUCK IN MEXICO CONNECT
		Between 1910 and 1916 Orozco drew cartoons for the magazine El Hijo de Ahuizote and was one of a group of politically oriented artists on the staff of La Vanguardia, organ of the Constitutionalist movement during the Revolution.
		Orozco went to the United States in 1917; on his return he painted "Soldadera," celebrating the women soldiers of the Revolution, "Combat" (also about the Revolution) and a picture of his mother.
		Orozco reached the summit of his art with the frescos he painted for the Guadalajara's Hospicio Cabañas.
	www.mexconnect.com /mex_/history/jtuck/jtorozco.html (1083 words)

	Mary-Anne Martin/Fine Art \| Exhibitions \| Orozco 1996 \| Herrera Article
		Orozco and Rivera were born three years apart, Orozco in Ciudad Guzmán in 1883, and Rivera in Guanajuato in 1886.
		Orozco’s later Cortez at Dartmouth is an even more indomitable hero, albeit a mixed blessing of a hero, for here he is shown as an armoured man, a man of steel who led the way to the dehumanizing industrial era.
		Orozco’s image of The Masses in his 1935 lithograph and in his similar 1940 fresco at the Gabino Ortiz Library in Jiquilpan consists of a cluster of stone-throwing, flag-waving idiots who have no eyes to see and whose heads are huge, toothy, yelling mouths.
	www.mamfa.com /exh/oroz1996/hh_article.htm (6011 words)

	Pomona College : Museum of Art (Site not responding. Last check: 2007-10-19)
		José Clemente Orozco was a courageous choice for the Pomona commission given his relative obscurity in 1930 and the fact that his style contrasted sharply with that of the muted, decorative murals to which the American public was accustomed.
		Orozco's early artistic training, at the Academy of San Carlos in Mexico City, had been based on the study of classical Greek and Roman sculpture and emphasized drawing from the nude.
		Prometheus was well-received at the time, and the skill with which Orozco had scaled the composition to its architectural environment was particularly applauded.
	www.pomona.edu /museum/collections/prometheus/about.shtml (332 words)

	Jose Clemente Orozco (Site not responding. Last check: 2007-10-19)
		Beautifully composed by Orozco to perfectly fit the architectural space, the mural depicts Prometheus, the mythological titan who stole fire from the gods to give to humanity, and who was then horribly punished by a raging Zeus.
		Also highlighting the drawings is a study of a torso for one of the larger human figures, a dynamic image that reveals the inherent movement in the body with strong lines and shadows.
		Orozco signals the new enlightenment of mankind with the end of the old reign of the gods.
	artscenecal.com /ArticlesFile/Archive/Articles2002/Articles0202/JCOrozcoA.html (704 words)

	ANALYSIS OF THE HOSPICIO CABANAS FRESCO SERIES OF JOSE CLEMENTE OROZCO
		Orozco was a man of impeccable character, a man of sincere modesty and a man tortured by images of his people's self-destruction.
		For Orozco, the conquest and the revolution were the fulfillment of this prophesy, the necessary obliteration of the barbaric tendencies of each race, of the human race.
		Jose Clemente Orozco bestows upon the viewer a priceless treasure, a piece of himself, the moving example of Mexico's history, and eternal faith in the spirit of mankind.
	www.msu.edu /user/hockettj/Orzcpap.htm (6496 words)

	Jose Clemente Orozco Biography / Biography of Jose Clemente Orozco Main Biography
		The Mexican painter José Clemente Orozco (1883-1949) was one of the artists responsible for the renaissance of mural painting in Mexico in the 1920s.
		José Clemente Orozco was born on Nov. 23, 1883, in Zapotlán el Grande (now Ciudad Guzmán) in the state of Jalisco.
		Orozco was one of the founders of the National College in 1943, and there he presented six exhibitions between 1943 and 1948.
	www.bookrags.com /biography-jose-clemente-orozco (568 words)

	Jose' Clemente Orozco 1927-1934 (Site not responding. Last check: 2007-10-19)
		José Clemente Orozco in the United States, 1927-1934 explores the transformations in Orozco's subjects, style, and working methods, and the charged cultural climate in which he created such a diverse body of work.
		Orozco's contemporaries Diego Rivera and David Alfaro Siqueiros also visited the United States in these years, but their stays were brief.
		Orozco's works, including his mural commissions in the United States, were deeply affected by these experiences.
	www.undo.net /artinpress/1015887600.1015877015.html (1122 words)

	The Art Institute of Chicago: Art Access
		José Clemente Orozco, a leader of the Mexican mural movement during the 1920s and 1930s, presented Zapata as a ghostlike figure who appears in the open door of a peasant hut.
		Orozco painted this dramatic canvas during his self-imposed exile in the United States, where he moved to escape riots inspired by anti-Catholic murals he had created in Mexico City.
		Orozco later claimed that he painted Zapata, which was sold to the actor Vincent Price, to finance his trip back to New York after completing a mural commission in California.
	www.artic.edu /artaccess/AA_Modern/pages/MOD_10.shtml (244 words)

	José Clemente Orozco, Alegoría de México. Andres Blaisten Museum
		Together with Rivera and Siqueiros he spread not only the technique of al fresco Muralism, but also the subject matter that was emphasized - sometimes more sometimes less - of a critical view of contemporary man's condition.
		Orozco's paintings of his formative years were particularly studied and admired by the abstract expressionist painters.
		The free expressions and suggestive strenght of the muralist made an impact on, for example, Jackson Pollock with qualities that are evident in this allegory, a bit nationalistic, from the Blaisten Collection.
	www.museoblaisten.com /02asp/english/paintingEnglish.asp?numID=82 (161 words)

	Orozco at Dartmouth
		JosÉ Clemente Orozco came to Dartmouth in May, 1932 as a visiting lecturer in the department of art.
		He was commissioned to teach the technique of fresco painting and did this by painting a small fresco in the reserve room corridor, entitled Man Released from the Mechanistic to the Creative Life.
		The room was painted with a series of twenty four panels depicting American civilization from the Aztecs to the arrival of the white man. An interpretation of his work was published by Dartmouth College in 1934 upon completion of the mural, and republished in 1962.
	www.dartmouth.edu /~library/Orozco (276 words)

	Orozco, José Clemente Orozco, University of Texas Press
		Mexican painter José Clemente Orozco (1883-1949) was one of the twentieth century's major artists and Mexico's greatest muralist.
		In addition to his acclaimed work in painting, Orozco was also a skilled and versatile printmaker, architectural draftsman, caricaturist, portraitist, book illustrator, and stage designer for ballet.
		Clemente Orozco is Curator and President of the Fundación José Clemente Orozco in Guadalajara, Mexico.
	www.utexas.edu /utpress/books/orocle.html (249 words)

	Jose Clemente Orozco Online
		Jose Clemente Orozco at the Metropolitan Museum of Art, New York City
		Jose Clemente Orozco at the Smithsonian American Art Museum, Washington D.C. Library of Congress, Washington D.C. Mujer mexicana, lithograph, 1929
		All images and text on this Jose Clemente Orozco page are copyright 1999-2005 by John Malyon/Artcyclopedia, unless otherwise noted.
	www.artcyclopedia.com /artists/orozco_jose_clemente.html (301 words)

	José Clemente Orozco (Site not responding. Last check: 2007-10-19)
		José Clemente Orozco was born to Rosa de Flores Orozco on November 23,1883.
		Orozco also got the opportunity to paint some murals in California.
		Orozco craved uniqueness and didn't want to be put in a category.
	staff.esuhsd.org /~balochie/studentprojects/mexmuralists/mexicanmuralist7.html (293 words)

	José Clemente Orozco, Parnaso mexica con catrinas de pulquería. Andres Blaisten Museum
		José Clemente Orozco, Parnaso mexica con catrinas de pulquería.
		The profound skeptical vision that Clemente Orozco had of the bulwarks of civilization is evident not only in his murals, but in his prolific sketches and easel work.
		Because of its critical view of the pre-Hispanic world, this piece is closer to the Teules series, as well as to the cabaret scenes of the forties.
	www.museoblaisten.com /02asp/english/paintingEnglish.asp?numID=53 (156 words)

	Amazon.com: Jose Clemente Orozco: Mexican Artist (Hispanic Biographies): Books: Barbara C. Cruz (Site not responding. Last check: 2007-10-19)
		Cruz clearly illustrates how Orozco's prodigious talent and dedication to perfecting his craft eclipsed the injuries he suffered as a teenager that caused him to lose one hand and injure the other.
		Discusses the life and times of Jose Clemente Orozco, who has been called "the most original and powerful mural painter" in Mexico despite having been badly injured in an explosion as a teenager.
		This historical book was an excellent source of information, not only about Jose Clemente Orozco, the artist, but about 20th century Mexico and it's history.
	www.amazon.com /exec/obidos/tg/detail/-/0766010414?v=glance (552 words)

	Jose Clemente Orozco -- Britannica Student Encyclopedia
		The most eminent painter of murals in the 20th century was the Mexican artist José Clemente Orozco.
		In his own country he was honored as a leader among those whose works were instrumental in raising Mexican art to a position of international prominence.
		Orozco was born in Ciudad Guzman, Mexico, on Nov. 23, 1883, but he grew up in Mexico City.
	www.britannica.com /ebi/article-9276217?tocId=9276217 (691 words)

	Mary-Anne Martin/Fine Art \| Newsletters \| Winter 1997 \| Orozco Exhibition
		In the course of putting our exhibition together, we were amazed to discover that no major Orozco exhibition has been held in the United States in over thirty years, although one is now in preparation at the Hood Museum at Dartmouth College, on the subject of Orozco in New York.
		We feel that Orozco has been sadly neglected, especially in comparison to Rivera, who stole the limelight from Orozco during his lifetime and apparently after death as well.
		Its aims are to work toward the preservation of Orozco’s works, to further the systematic study of his art and to spread his legacy to the public.
	www.mamfa.com /news/win97/orozco.htm (306 words)

	José Clemente Orozco. Vida y obra. Biography and works (Site not responding. Last check: 2007-10-19)
		When mural painting was reborn in 1922, Orozco reserved for himself the walls of the large patio of the National Preparatory School, the former San Ildefonso Jesuit School.
		In general, Orozco's paintings in this building represent the origin of Mestizo Mexico (staircase); the institution of renewal ideals (ground floor); criticism to negative forces (first floor); and the human tragedy of the Revolution (second floor).
		Cardoza y Aragón, Luis-José Clemente Orozco-, UNAM, 1959.
	www.colegionacional.org.mx /Orozco0.htm (1640 words)

	[No title]
		Jose Clemente Orozco was born on November 23, 1883 in Ciudad Guzman, Jalisco, Mexico.
		Orozco's giant murals made him the most powerful of Mexico's Big Three, which included Diego Rivera and David Siqueiros.
		Orozco's work caught the spirit of Mexico, bloodied and in ruins, emerging from many years of brutal class warfare.
	askart.com /artist/O/jose_clemente_orozco.asp?ID=9000077 (255 words)

	Jose Clemente Orozco (1883 - 1949) Artwork Images, Exhibitions, Reviews
		Mexican artist, Jose Clemente Orozco studied engineering and architecture in Mexico City and then enrolled at the Academia San Carlos to study art.
		His interest in the art and architecture of the Toltecs and Mayas was evident in his paintings, giving his work a distinctive quality that separated him from the European Expressionists.
		Jose Clemente Orozco - Mexican Pueblo 20th century oil on canvas The Detroit Institute of Art Mexican
	www.wwar.com /masters/o/orozco-jose_clemente.html (427 words)

	Orozco, José Clemente on Encyclopedia.com (Site not responding. Last check: 2007-10-19)
		Orozco en Nueva York.(José Clemente Orozco, pintor)(TT: Orozco in New York.)(TA: Jose Clemente Orozco, painter)
		Jose Clemente OROZCO mural in the orphanage in Guadalajara.
		Mural in domed ceiling of the Cabanas Cultural Institution, painted by Jose Clemente OROZCO.
	www.encyclopedia.com /html/O/Orozco-J1.asp (402 words)

	Proceso: Orozco en Nueva York.(José Clemente Orozco, pintor)(TT: Orozco in New York.)(TA: Jose Clemente Orozco, ... (Site not responding. Last check: 2007-10-19)
		Proceso: Orozco en Nueva York.(José Clemente Orozco, pintor)(TT: Orozco in New York.)(TA: Jose Clemente Orozco, painter)@ HighBeam Research
		En una Nueva York azotada por una gran recesión, en el preámbulo de una nueva guerra mundial, José Clemente Orozco, agobiado por sus propios problemas económicos, vio derrumbarse, unos sobre otros, los rascacielos de la gran urbe de hierro en una apocalíptica y escalofriante visión.
		Destrozados, con sus estructuras metálicas retorcidas asomando como venas reventadas, los edificios semejan incontenibles ríos de fierro, concreto y horror.
	www.highbeam.com /library/doc0.asp?DOCID=1G1:79975505&refid=ip_encyclopedia_hf (215 words)

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