Public Murals: The Roots - Revision history

Ccarlsson at 04:44, 22 November 2021

2021-11-22T04:44:06Z

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	[[Cement Art \| Prev. Document]] [[Allegory of California \| Next Document]]		[[Cement Art \| Prev. Document]] [[Allegory of California \| Next Document]]

	[[category:Public Art]] [[category:1920s]] [[category:1930s]] [[category:murals]] [[category:1960s]]		[[category:Public Art]] [[category:1920s]] [[category:1930s]] [[category:murals]] [[category:1960s]] [[category:Reclaiming San Francisco]]

Ccarlsson: Protected "Public Murals: The Roots": excerpted essay [edit=sysop:move=sysop]

2009-01-04T08:00:13Z

Protected "Public Murals: The Roots": excerpted essay [edit=sysop:move=sysop]

← Older revision	Revision as of 01:00, 4 January 2009
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Ccarlsson: PC and protected

2009-01-04T07:59:41Z

PC and protected

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			'''<font face = Papyrus> <font color = maroon> <font size = 4>Historical Essay</font></font> </font>'''

			''by Timothy W. Drescher''

	[[Image:Coit mural orange-harvest9979.jpg]]		[[Image:Coit mural orange-harvest9979.jpg]]

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	At the same time Rivera was painting in the United States, the [[Coit Tower \| New Deal mural programs]] were beginning with the first project at Coit Tower. In fact, some of Rivera's assistants were significant New Deal artists and later became involved in San Francisco's community murals: Emmy Lou Packard, Lucienne Bloch and Stephen Dimitroff. Other than influence by example, the main lesson of the New Deal murals was stylistic: social realism. They had a story to tell, a message to communicate, and realism was selected as the appropriate stylistic vehicle.		At the same time Rivera was painting in the United States, the [[Coit Tower \| New Deal mural programs]] were beginning with the first project at Coit Tower. In fact, some of Rivera's assistants were significant New Deal artists and later became involved in San Francisco's community murals: Emmy Lou Packard, Lucienne Bloch and Stephen Dimitroff. Other than influence by example, the main lesson of the New Deal murals was stylistic: social realism. They had a story to tell, a message to communicate, and realism was selected as the appropriate stylistic vehicle.

	''--Excerpted from the essay ~~Street~~ Subversion: The Political Geography of Graffiti and ~~Murals~~ by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics and Culture'' [http:www.citylights.com City Lights Books], 1998.		''--Excerpted from the essay "Street Subversion: The Political Geography of Graffiti and Murals" by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics and Culture'' [http:www.citylights.com City Lights Books], 1998.

Ccarlsson: new photos and categories and links

2008-08-10T22:01:39Z

new photos and categories and links

← Older revision		Revision as of 15:01, 10 August 2008
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			[[Image:Coit mural orange-harvest9979.jpg]]

			'''Orange harvest depicted in Coit Tower mural'''

			''Photo: Chris Carlsson''

	[[Image:art1$coit-tower-library-detail.jpg]]		[[Image:art1$coit-tower-library-detail.jpg]]

	'''Detail from '''Library''' by Bernard Zakheim at Coit Tower'''		'''Detail from '''Library''' by Bernard Zakheim at Coit Tower'''

	Murals were still an elite expression until the 1920s in Mexico. At that time, the Mexican muralists began to execute their works on the walls of public buildings. The leading muralists (there were many more, some of whom, such as Covarrubias, have been influential in San Francisco) were Diego Rivera, David Alfaro Siqueiros, and Jose Clemente Orozco, who became known as Los Tres Grandes, The Three Great Ones. Among these, Rivera is particularly significant for San Francisco because he painted four murals [[Diego Rivera in San Francisco \| here]]. Rivera is important for other reasons, too. His anthropological studies informed his depictions of ancient Mesoamerican cultures, which included the great murals of Teotihuacan and Bonampak. Perhaps most importantly, his communist political activism inspired many community muralists to commit their skills to the struggles for social justice of the 1960s in the United States: Civil Rights, Women's Liberation, the anti-Vietnam War movement, and celebration of local poor, ethnic, and working class communities.		Murals were still an elite expression until the 1920s in Mexico. At that time, the Mexican muralists began to execute their works on the walls of public buildings. The leading muralists (there were many more, some of whom, such as Covarrubias, have been influential in San Francisco) were [[Diego Rivera in San Francisco\|Diego Rivera]], David Alfaro Siqueiros, and Jose Clemente Orozco, who became known as Los Tres Grandes, The Three Great Ones. Among these, Rivera is particularly significant for San Francisco because he painted four murals [[Diego Rivera in San Francisco \| here]]. Rivera is important for other reasons, too. His anthropological studies informed his depictions of ancient Mesoamerican cultures, which included the great murals of Teotihuacan and Bonampak. Perhaps most importantly, his communist political activism inspired many community muralists to commit their skills to the struggles for social justice of the 1960s in the United States: Civil Rights, Women's Liberation, the anti-Vietnam War movement, and celebration of local poor, ethnic, and working class communities.

	At the same time Rivera was painting in the United States, the [[Coit Tower \| New Deal mural programs]] were beginning with the first project at Coit Tower. In fact, some of Rivera's assistants were significant New Deal artists and later became involved in San Francisco's community murals: Emmy Lou Packard, Lucienne Bloch and Stephen Dimitroff. Other than influence by example, the main lesson of the New Deal murals was stylistic: social realism. They had a story to tell, a message to communicate, and realism was selected as the appropriate stylistic vehicle.		At the same time Rivera was painting in the United States, the [[Coit Tower \| New Deal mural programs]] were beginning with the first project at Coit Tower. In fact, some of Rivera's assistants were significant New Deal artists and later became involved in San Francisco's community murals: Emmy Lou Packard, Lucienne Bloch and Stephen Dimitroff. Other than influence by example, the main lesson of the New Deal murals was stylistic: social realism. They had a story to tell, a message to communicate, and realism was selected as the appropriate stylistic vehicle.

	''--Excerpted from the essay Street Subversion: The Political Geography of Graffiti and Murals by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics and Culture''		''--Excerpted from the essay Street Subversion: The Political Geography of Graffiti and Murals by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics and Culture'' [http:www.citylights.com City Lights Books], 1998.

	~~Contributors to this page include:~~

	~~''Volcano Press - Publisher or Photographer ''~~		[[Cement Art \| Prev. Document]] [[Allegory of California \| Next Document]]

	~~Beatty,Don - Photographer-Artist~~

	~~City Lights Books,San Francisco,CA - Publisher or Photographer~~

	~~Drescher,Timothy,W~~. ~~- Writer~~

	[[~~Cement~~ Art ~~\| Prev. Document~~]] [[~~Allegory of California \| Next Document~~]]		[[category:Public Art]] [[category:1920s]] [[category:1930s]] [[category:murals]] [[category:1960s]]

Ccarlsson at 22:58, 7 August 2008

2008-08-07T22:58:29Z

← Older revision		Revision as of 15:58, 7 August 2008
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	'''Detail from '''Library''' by Bernard Zakheim at Coit Tower'''		'''Detail from '''Library''' by Bernard Zakheim at Coit Tower'''

	Murals were still an elite expression until the 1920s in Mexico. At that time, the Mexican muralists began to execute their works on the walls of public buildings. The leading muralists (there were many more, some of whom, such as Covarrubias, have been influential in San Francisco) were Diego Rivera, David Alfaro Siqueiros, and Jose Clemente Orozco, who became known as Los Tres Grandes, The Three Great Ones. Among these, Rivera is particularly significant for San Francisco because he painted four murals [[Diego Rivera in San Francisco here]]. Rivera is important for other reasons, too. His anthropological studies informed his depictions of ancient Mesoamerican cultures, which included the great murals of Teotihuacan and Bonampak. Perhaps most importantly, his communist political activism inspired many community muralists to commit their skills to the struggles for social justice of the 1960s in the United States: Civil Rights, Women's Liberation, the anti-Vietnam War movement, and celebration of local poor, ethnic, and working class communities.		Murals were still an elite expression until the 1920s in Mexico. At that time, the Mexican muralists began to execute their works on the walls of public buildings. The leading muralists (there were many more, some of whom, such as Covarrubias, have been influential in San Francisco) were Diego Rivera, David Alfaro Siqueiros, and Jose Clemente Orozco, who became known as Los Tres Grandes, The Three Great Ones. Among these, Rivera is particularly significant for San Francisco because he painted four murals [[Diego Rivera in San Francisco \| here]]. Rivera is important for other reasons, too. His anthropological studies informed his depictions of ancient Mesoamerican cultures, which included the great murals of Teotihuacan and Bonampak. Perhaps most importantly, his communist political activism inspired many community muralists to commit their skills to the struggles for social justice of the 1960s in the United States: Civil Rights, Women's Liberation, the anti-Vietnam War movement, and celebration of local poor, ethnic, and working class communities.

	At the same time Rivera was painting in the United States, the [[Coit Tower New Deal mural programs]] were beginning with the first project at Coit Tower. In fact, some of Rivera's assistants were significant New Deal artists and later became involved in San Francisco's community murals: Emmy Lou Packard, Lucienne Bloch and Stephen Dimitroff. Other than influence by example, the main lesson of the New Deal murals was stylistic: social realism. They had a story to tell, a message to communicate, and realism was selected as the appropriate stylistic vehicle.		At the same time Rivera was painting in the United States, the [[Coit Tower \| New Deal mural programs]] were beginning with the first project at Coit Tower. In fact, some of Rivera's assistants were significant New Deal artists and later became involved in San Francisco's community murals: Emmy Lou Packard, Lucienne Bloch and Stephen Dimitroff. Other than influence by example, the main lesson of the New Deal murals was stylistic: social realism. They had a story to tell, a message to communicate, and realism was selected as the appropriate stylistic vehicle.

	''--Excerpted from the essay Street Subversion: The Political Geography of Graffiti and Murals by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics and Culture		''--Excerpted from the essay Street Subversion: The Political Geography of Graffiti and Murals by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics and Culture''

	Contributors to this page include:		Contributors to this page include:
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	Drescher,Timothy,W. - Writer		Drescher,Timothy,W. - Writer

	[[Cement Art Prev. Document]] [[Allegory of California Next Document]]		[[Cement Art \| Prev. Document]] [[Allegory of California \| Next Document]]

Admin: 1 revision(s)

2007-10-07T21:47:44Z

1 revision(s)

← Older revision	Revision as of 14:47, 7 October 2007
(No difference)

Unknown user at 00:00, 15 January 2001

2001-01-15T00:00:00Z

New page

[[Image:art1$coit-tower-library-detail.jpg]]

'''Detail from '''Library''' by Bernard Zakheim at Coit Tower'''

Murals were still an elite expression until the 1920s in Mexico. At that time, the Mexican muralists began to execute their works on the walls of public buildings. The leading muralists (there were many more, some of whom, such as Covarrubias, have been influential in San Francisco) were Diego Rivera, David Alfaro Siqueiros, and Jose Clemente Orozco, who became known as Los Tres Grandes, The Three Great Ones. Among these, Rivera is particularly significant for San Francisco because he painted four murals [[Diego Rivera in San Francisco here]]. Rivera is important for other reasons, too. His anthropological studies informed his depictions of ancient Mesoamerican cultures, which included the great murals of Teotihuacan and Bonampak. Perhaps most importantly, his communist political activism inspired many community muralists to commit their skills to the struggles for social justice of the 1960s in the United States: Civil Rights, Women's Liberation, the anti-Vietnam War movement, and celebration of local poor, ethnic, and working class communities.

At the same time Rivera was painting in the United States, the [[Coit Tower New Deal mural programs]] were beginning with the first project at Coit Tower. In fact, some of Rivera's assistants were significant New Deal artists and later became involved in San Francisco's community murals: Emmy Lou Packard, Lucienne Bloch and Stephen Dimitroff. Other than influence by example, the main lesson of the New Deal murals was stylistic: social realism. They had a story to tell, a message to communicate, and realism was selected as the appropriate stylistic vehicle.

''--Excerpted from the essay Street Subversion: The Political Geography of Graffiti and Murals by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics and Culture

Contributors to this page include:

''Volcano Press - Publisher or Photographer ''

Beatty,Don - Photographer-Artist

City Lights Books,San Francisco,CA - Publisher or Photographer

Drescher,Timothy,W. - Writer

[[Cement Art Prev. Document]] [[Allegory of California Next Document]]