The Mexican Revolution brought about a cultural reawakening that heartened artists to look inward in search of a specific Mexican artistic portrayal beginning in 1910. This visual representation, designed to rise above the field of the arts, gave a national identity to this population experiencing a chaotic transition. Because a majority of Mexicans were faced with the harsh realities of warfare, people developed new ways for coping with their own adversity, however, with more than half of the population being illiterate, many turned to art as a form of representation in order to express their point of views. Artists such as Frida Kahlo, and muralists like Diego Rivera, José Clemente Orozco, and David Alfaro Siquerios all intertwine their own
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The purpose of this shift was to fabricate a “true” Mexican art that would reassert and fortify the nation’s identity and principles developed after the Revolution. This movement bore Mexican Muralism, which was created to stipulate a visual description of the post-Revolutionary manifestation of Mexico’s history. Mexican Muralism was impelled by the principle that art should be by the people, for the people. Visual arts were essential to the reconstruction process from the initial process. Jose Vasconcelos, a prominent intellectual chosen by President Obregon, was put to help form a new Ministry of Public Education in 1920. Vasconcelos, then, assembled a group of painters who would put together monumental murals on and in public buildings. These murals had an educative and communal purpose, paying homage to Mexico’s indigenous traditions and history, recounting the struggles of the people since the 16th century when the Spanish colonized Mexico, and representing the history and morals of the uprising. The Mexican Muralism movement Vasconcelos helped set in motion has come to be distinguished as both the quintessential art of the Mexican Revolution and Mexico’s exceptional endowment to the modern time’s art. Led by David Alfaro Siqueiros, Diego Rivera, and José Clemente Orozco, this movement refined a style that explained the post-Revolution’s Mexican
The purpose of this shift was to fabricate a “true” Mexican art that would reassert and fortify the nation’s identity and principles developed after the Revolution. This movement bore Mexican Muralism, which was created to stipulate a visual description of the post-Revolutionary manifestation of Mexico’s history. Mexican Muralism was impelled by the principle that art should be by the people, for the people. Visual arts were essential to the reconstruction process from the initial process. Jose Vasconcelos, a prominent intellectual chosen by President Obregon, was put to help form a new Ministry of Public Education in 1920. Vasconcelos, then, assembled a group of painters who would put together monumental murals on and in public buildings. These murals had an educative and communal purpose, paying homage to Mexico’s indigenous traditions and history, recounting the struggles of the people since the 16th century when the Spanish colonized Mexico, and representing the history and morals of the uprising. The Mexican Muralism movement Vasconcelos helped set in motion has come to be distinguished as both the quintessential art of the Mexican Revolution and Mexico’s exceptional endowment to the modern time’s art. Led by David Alfaro Siqueiros, Diego Rivera, and José Clemente Orozco, this movement refined a style that explained the post-Revolution’s Mexican