Mexican muralism is the vast public art project begun in the wake of the Mexican Revolution (1910-1920) and funded by the new government, above all through the education ministry of José Vasconcelos. From the 1920s it transformed the walls of schools, ministries, markets, hospitals and chapels into didactic histories of Mexico's past, present and future, meant to reshape citizens' understanding of the nation. Its 'Big Three' were Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros, joined by many others including women muralists. Painting directly onto the fabric of public buildings, they fused European modernism and the Renaissance fresco tradition with indigenous subjects and revolutionary politics. From the 1920s to the 1970s the muralist program spread across public Mexico; the tradition continues to this day and decisively shaped Chicano art in the United States.
Mural by Diego Rivera of the Aztec city of Tenochtitlan and life in Aztec times.Public domain (credit: Diego Rivera) · source
Defining characteristics
Monumental scale: murals conceived as part of the building, covering walls, ceilings and stairwells
Didactic narrative: Mexican history, revolution, the indigenous past and an industrial future
Bold, simplified figuration with strong outlines, legible from a distance
Dynamic, crowded compositions built on diagonals and machine imagery
Synthesis of European modernist forms with pre-Columbian motifs and local colour
Key figures
Diego Rivera(1886-1957) — Leading muralist; epic histories of Mexico and industry (Detroit Industry Murals)
José Clemente Orozco(1883-1949) — Darkest of the Big Three; visionary frescoes at Hospicio Cabañas, Guadalajara
David Alfaro Siqueiros(1896-1974) — Experimental technique and revolutionary imagery on public walls
José Vasconcelos(1882-1959) — Education minister whose commissions launched the mural program in the 1920s