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Essay / Research Paper Abstract
A 10 page paper which examines how these twentieth-century Mexican artists portrayed death in these classic paintings. Bibliography lists 10 sources.
Page Count:
10 pages (~225 words per page)
File: TG15_TGorozkahl.rtf
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Unformatted sample text from the term paper:
This was never truer than during the early twentieth century when a decade-long revolution further divided the country and offered little resolution. But that was perfectly acceptable within the
Mexican scheme of life because death is an essential piece of that cosmic puzzle. Back in 1939, Laurence E. Schmeckebier noted in his text, Modern Mexican Art, "Among the
most potent themes handed down from colonial and ancient times that have become an integrated part of popular Mexican life today are the meditations on death" (Schmeckebier 20). Death
is readily apparent in all aspects of ancient Mexican art, but possibly never more prevalent than in the aftermath of the Mexican Revolution (1910-1920), when a despotic dictatorship was transformed
into a constitutional republic that required a significant amount of bloodshed and promised an uncertain future. Jose Clemente Orozco (1883-1949) and Frida Kahlo (1907-1954) represented the vision of the
next generation, but their life-affirming art depicted death as a painful but necessary stepping-stone of transition. Clearly the defining moment of his life, J.C. Orozco "was intimately affected by the
revolution" (Brenner 271). His paintbrush seemed to pulsate to the revolutionary theme, "If Im going to die tomorrow, why not kill me today?" (Reed 25) His art has
been described as being both powerful and extraordinary, and since the Mexican Revolution coincided with his coming of age, his paintings "approached deaths mystery with the authority of timeless, universal
statement" (Rochfort 42; Reed 26). Orozco viewed his task of stripping death of all its mystery and allure, and portraying it as an extreme part of life that can
encompass a spectrum of emotions. Of his style, one critic noted a contrast between violence and compassion, of triumph and tragedy, of a combination of linear movement and "zigzag
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