Antecedents
What did the first modern Mexican mural feature?
Mexican muralism
Mexico has had a tradition of painting murals, starting with the Olmec civilization in the pre Hispanic period and into the colonial period, with murals mostly painted to evangelize and reinforce Christian doctrine. The modern tradition has its roots in the 19th century, with this use of political and social themes. The first Mexican mural painter to use philosophical themes in his work was Juan Cordero in the mid 19th century. Although he did mostly work with religious themes such as the cupola of the Santa Teresa Church and other churches, he painted a secular mural at the request of Gabino Barreda at the Escuela Nacional Preparatoria (since disappeared). The latter 19th century was dominated politically by the Porfirio Díaz regime. This government was the first to push for the cultural development of the country, supporting the Academy of San Carlos and sending promising artists abroad to study. However, this effort left out indigenous culture and people, with aim of making Mexico like Europe. Gerardo Murillo, also known as Dr. Atl, is considered to be the first modern Mexican muralists with the idea that Mexican art should reflect Mexican life. Academy training and the government had only promoted imitations of European art. Atl and other early muralists pressured the Diaz government to allow them to paint on building walls to escape this formalism. Atl also organized an independent exhibition of native Mexican artists promoting many indigenous and national themes along with color schemes that would later appear in mural painting. The first modern Mexican mural, painted by Atl, was a series of female nudes using “Atlcolor” a substance Atl invented himself, very shortly before the beginning of the Mexican Revolution . Another influence on the young artists of the late Porfirian period was the graphic work of José Guadalupe Posada, who mocked European styles and created cartoons with social and political criticism. The Mexican Revolution itself was the culmination of political and social opposition to Porfirio Díaz policies. One important oppositional group was a small intellectual community that included Antonio Curo, Alfonso Reyes and José Vasconcelos. They promoted a populist philosophy that coincided with the social and political criticism of Atl and Posada and influenced the next generation of painters such as Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. These ideas gained power as a result of the Mexican Revolution, which overthrew the Díaz regime in less than a year. However, there was nearly a decade of fighting among the various factions vying for power. Governments changed frequently with a number of assassination, including that of Francisco I. Madero who initiated the struggle. It ended in the early 1920s with one-party rule in the hands of the Álvaro Obregón faction, which became the Partido Revolucionario Institucional (PRI). During the Revolution, Atl supported the Carranza faction and promoted the work of Rivera, Orozco and Siqueiros, who would later be the founders of the muralism movement. Through the war and until 1921, Atl continued to paint murals among other activities including teaching the Mexico’s next generation of artists and muralists.