David Alfaro Siqueiros

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Siqueiros, David Alfaro


(full name, José David Alfaro Siqueiros). Born Dec. 29, 1898, in Chihuahua; died Jan. 6, 1974, in Cuernavaca. Mexican painter, graphic artist, and public figure. One of the founders of the Mexican school of mural painting.

Siqueiros studied in Mexico City at the Academy of Fine Arts (1911) and at the Open Air School of Santa Anita (1913). Beginning in 1911 he was active in the revolutionary movement, and from 1914 to 1918 he was an officer in V. Carranza’s army. Siqueiros worked in France and Spain from 1919 to 1922; in 1921 he published a manifesto of revolutionary art in Barcelona. In 1922, after his return to Mexico, he founded the Syndicate of Technical Workers, Artists, and Sculptors, serving as the organization’s general secretary from 1923 to 1925. From 1924, Siqueiros was a leader of the Communist Party of Mexico and editor in chief of the newspaper El Mundo. During the 1920’s he was active in the trade union movement; he was made the general secretary of the Mexican Unitary Trade Union Confederation in 1929. In 1930 he was arrested, and in 1931 he was exiled to Taxco.

Between 1932 and 1936, Siqueiros worked in the USA; he founded an experimental workshop in New York in 1936. He served as an officer of the Republican Army in Spain from 1937 to 1939. His activities in Argentina (1933), Chile (1941-42), and Cuba (1943) greatly influenced the development of mural art in Latin America. Siqueiros visited Moscow in 1927, 1955, 1958, and 1972. In 1960 he was imprisoned in Mexico for his political activity, but in 1964 he was released as a result of international pressure. In 1967, Siqueiros was made an honorary member of the Academy of Arts of the USSR; in 1966 he received the International Lenin Prize for Strengthening Peace Among Nations.

A fighter for revolutionary art imbued with communist ideological content, Siqueiros created images marked by heightened expressiveness and great plastic force. He was a firm believer in the active influence of works of art on the masses. His monumental compositions combine representations of actual persons with symbolic embodiments of social-historical forces; they are marked by the use of dynamically shortened perspective, the bold combination of painting and sculptural forms, and the introduction of new artistic materials (synthetic paints, ceramic relief mosaic). In the 1950’s and 1960’s, Siqueiros’ treatment of historical events and personages took on a heightened expressiveness, and the political content of his work was intensified.

Siqueiros’ principal works in Mexico City include the murals in the National Preparatory School (fresco, 1922-23), the Electrical Workers Union building (1939), the Palace of Fine Arts (1945 and 1950–51), and the National History Museum (begun 1959), the mosaic and relief on the facade of the chancellor’s building at the University of Mexico (1952–54), and the monumental-decorative structure Poliforum, which combines architecture, painting, and sculpture (1971). Works by Siqueiros in the Museum of Modern Art include the easel paintings Proletarian Mother (1929–30) and Portrait of G. Gershwin (1936). The artist also did numerous lithographs and drawings.


Como se pinta un mural. Mexico City, 1951.
L’art et la revolution. Paris, 1973.


Zhadova, L. Monumental’naia zhivopis’ Meksiki. Moscow, 1965.
Polevoi V. Iskusstvo stran Latinskoi Ameriki. Moscow, 1967.
David Sikeiros. [Leningrad, 1969.]
Tibol, R. DavidAlfaro Siqueiros. Mexico City [1969].

V. M. POLEVOI [23–1056–]

References in periodicals archive ?
Through November 30, The Carnegie Art Museum in Oxnard has a show that focuses on the 20th-century Mexican masters Rivera, Siqueiros, and Tamayo, as does the Armand Hammer Museum of Art and Cultural Center in Westwood, from October 2 through November 11.
It will be terrific to see the project come to fruition and to provide visitors to Olvera Street the opportunity to view the mural for the first time in nearly 75 years and to learn about Siqueiros, and the tradition of mural painting in LA.
Marcos Siqueiros commented on the recognition: "I'm so honored to receive an award that's based on how my patients view the quality of care I provide.
Her coach, Armando Siqueiros, had to appeal to a USATF official late Thursday night to allow her to change her travel plans.
This was the era of La Ruptura (literally, "the rupture"), when such artists as Francisco Corzas, Alberto Gironella, Manuel Felguerez, Vicente Rojo, and Arnoldo Coen dared to challenge the supremacy of the "Big Three" muralists, Rivera, Orozco, and Siqueiros, most notably their devotion to narration, politics, and nationalistic themes.
Meanwhile, the various realist movements that in the '20s and '30s offered a counternarrative to the modernist mainstream still remain a hot potato--thus the piling up in a single gallery of the Mexican muralists Rivera and David Alfaro Siqueiros, the Neue Sachlichkeit painters Otto Dix and George Grosz, plus Oskar Schlemmer, Max Beckmann, and, most bizarrely, Jacob Lawrence.
Together with Jose Clemente Orozco and David Alfaro Siqueiros, Rivera constituted a holy trinity of high-guerrilla art, self-contained and violently opposed to whatever smacked of European elitism or gringo imperialism.
He is credited, along with Diego Rivera and David Alfaro Siqueiros (known collectively as "Los Tres Grandes"), for leading the renaissance of Modern Mexican art, and for effectively launching the Mexican muralist movement.
Commissioner Michele Siqueiros of the Campaign for College Opportunity stated, "Cal Grant students whose families incomes are $50,000 a year for a family of four would lose their Cal Grant award.
Of course, I often saw Rivera because he was still working on his murals at La Prepa while I was there, as were Orozco and Siqueiros.
9 SALA DE ARTE PUBLICO SIQUEIROS (Mexico City) During the '60s, communist muralist David Alfaro Siqueiros turned his home into a public art space and, in 1973, donated it to the "people of Mexico.
While David Alfaro Siqueiros is recognised as a longtime leftist who unapologetically put his art in the service of Communist Party politics, painting furiously for social and political change, spending time in prison for his beliefs, even casting the brush aside and taking part in an attempt to assassinate Trotsky, and while Diego Rivera, especially during the last phases of his career, is understood as a mythmaker who offered a nostalgic view of Mexico's revolutionary history, imagining a world that was diametrically opposed to a messy and broken Mexican modernity, Orozco is something of a mystery.