#alfaro siqueiros

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David Alfaro Siqueiros - Desperation (1961)

[topcat77]

David Alfaro Siqueiros

untitled, 1950

[jedivoodoochile]

El dolor de una madre ante el asesinato de su hijo el joven Luis Morales Jiménez estudiante del IPN durante una manifestación comunista en la Ciudad de México el 1 de Mayo de 1952 fotografía de Faustino Mayo y mural realizado por David Alfaro Siqueiros.

Cruda realidad de la lucha social en México.

[disease]

"COLLECTIVE SUICIDE" DAVID ALFARO SIQUEIROS // 1936 [lacquer on wood with applied sections | 49" x 6']

[fishingforwords]

[im]mor[t]ality

frank bidart, half-light || sigmund freud || fyodor dostoevsky, the brothers karamazov || david alfaro siqueiros, the march of humanity || frank bidart, half-light || neil gaimain & terry pratchett, good omens || fyodor dostoevsky, crime and punishment || crw nevinson, returning to the trenches || frank bidart, half-light

[artgate-blog]

David Alfaro Siqueiros

Our present image

1947

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David Alfaro Siqueiros Tormento de Cuauhtémoc, 1950-1951

[mv11]

[cupofmeat]

Untitled, David Alfaro Siqueiros, 1960. Pyroxylin on masonite.

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‘Ethnography’ by David Alfaro Siqueiros, c. 1939.

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El diablo en la iglesia

José David Alfaro Siqueiros

1947

Museo de Arte Moderno

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David Alfaro Siqueiros - The Devil in Church (1947)

[topcat77]

David Alfaro Siqueiros

Untitled (ca. 1950)

[longlistshort]

This painting by David Alfaro Siqueiros, Our Present Image, 1947, was part of the Whitney Museum’s exhibition Vida Americana: Mexican Muralists Remake American Art, 1925–1945 that ran from February 2020 through January 2021.

From the museum about this work-

In this painting, which demonstrates how Siqueiros would continue to develop the techniques he pioneered at the Experimental Workshop long after he left New York, the artist has replaced the face of a man with an oval stone to signify not one specific race or nationality but all of humanity. Rejecting the fixed perspective of more traditional painting, Siqueiros employed multiple viewpoints that cause viewers moving through space to experience the figure in motion. Although the exact meaning of the figure’s foreshortened arms and outstretched hands is ambiguous, Siqueiros was a dedicated Communist who believed in the ultimate triumph of the proletariat. Hands, for him, symbolized the heroic strength of the worker. The people, as he wrote in another context, march from “a distant past of misery and oppression… toward industrialization, emancipation, and progress.

[portraituresque]

DAVID ALFARO SIQUEIROS, Autorretrato (Self portrait)

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