Mural catarsis jose clemente orozco biography

Tras su viaje a los Estados Unidos en , José Clemente Orozco regresó a México para pintar el muro oriente del Palacio de Bellas Artes en la Ciudad de Mexico, pero como el edificio estaba un poco hecho polvo, decidió no arriesgar su obra pintando directamente sobre un muro que se podía derrumbar en cualquier momento y optó por pintarla sobre un bastidor de acero.

Katharsis muestra mediante una orgía de color brillante y formas dinámicas una muy expresionista alegoría sobre la guerra y la desintegración. Para ello empleó diversos motivos, muchos de ellos recurrentes en su obra: las armas, las masas de gente, la lucha, el caos… Todo unido en una montaña de catarsis. También tenemos ahí la prostitución (putas que ríen simbolizando el abandono de los valores morales), las máquinas (que con sus engranajes parecen devorar a colectivos humanos enteros), una caja fuerte abierta (la avaricia y codicia humanas, el robo a la sociedad), el fuego… Porque en la parte superior de la obra todo está ardiendo, como si con un último sufrimiento extremo el fuego fuera a purificarlo todo.

¿Nos está diciendo Orozco que nuestra sociedad, donde se utiliza la máquina y la tecnología no pr

Katharsis: el mural del pasado que describe el presente

Katharsis es un mural pintado por José Clemente Orozco en los años de y Atrapa al espectador cuando fija su atención en los cuerpos humanos por sus contrastes en la iluminación: algunos llenos de color, significando vida, que contrapone con otros opacos, metálicos, inertes, atrapados por un mundo tecnológico.

Seres humanos representados por unos rostros expresivos que caracterizan el miedo, el placer, la locura, la muerte, que produce una sociedad caótica que en cualquier momento puede ser devorada por las llamas.  

Katharsis es una obra que cualquiera puede disfrutar al visitar el PBA en la Ciudad de México, donde se exhibe el mural. Y darse cuenta, sin importar la época, de que sigue estando vigente.

Precisamente en este septiembre de (mes en que cumplen 71 años de haber fallecido José Clemente Orozco) y que padecemos un confinamiento por el COVID, los individuos son grises, como un metal frío, sin vida afectiva, devorados por el mundo de la tecnología, tal como los pintó Orozco, y con las mismas expresiones en los rostros: miedo, desesperanza y muerte.

Y su obra en general siempre será actual, por decirlo

Catharsis

Jose Clemente Orozco

Catharsis

Jose Clemente Orozco

The mural Catharsis () decorates the walls of the Palace of Fine Art in Mexico City. Orozco presents there a dystopian vision of humanity, plagued by conflict, decay, and destruction. In particular, he highlights a world ravaged by industrialization and war: the backdrop is a chaotic scene of agitated protesters, men engaging in combat among piles of cogwheels, weapons, and machinery. The most prominent figure is the laughing prostituted woman, provocatively lying on her back left of the center of the mural. Orozco also incorporates disembodied heads of other prostituted women in the foreground, their grimacing faces are painted with garish makeup.

The incorporation of prostituted women in a public commission for a prominent cultural institution reflects the multiple layers of Orozco’s social and political critique in Catharsis. In the context of European literary and artistic avant-garde, the figure of the prostituted woman is a motif that represents the female body as both an object of male desire and a commodity. The motif embodied the temporal nature and commodified social relations that characterize

Jose Clemente Orozco ()

 

Art Career

It was in the town of Guadalajara, where he spent most of his childhood, that Orozco first became interested in art. On his way to school he would pass the print shop of the graphic artist Jose Guadelupe Posada, who distributed satirical cartoons on political and social issues to the poor and illiterate.

Orozco's bourgeois middle-class family did not want him to study painting, and instead enrolled him at agricultural college. It was only after a science experiment went wrong and he lost his left hand that he finally enrolled at the San Carlos Academy of Fine Arts in Mexico City. Among his teachers was Dr Gerardo Atl, who had studied Renaissance art in Italy. He was to urge the Mexican government to sponsor public mural projects.

Orozco's early works included watercolour painting, such as the series called The House of Tears (), on local brothels and prostitutes - for Orozco a clear symbol of human degradation. They were influenced by Picasso's early drawings and paintings on the same subject. Already a master of drawing, Orozco also produced numerous caricatures and cartoons, which newspapers printed during the revolution


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