The artists in this show, however, were truly avant-garde in their social values, championing the underdogs of history when it was deeply unfashionable to do so. Pyoxylin on masonite, covered with synthetic plastic - Palace of Fine Arts, Mexico City, Mexico. David Alfaro Siqueiros was a leading figure in the Mexican school of great mural painters, alongside Jos Clemente Orozco and Diego Rivera.Siqueiros was wildly prolific in his career; his work often featured social and political subjects, and In the end, Rivera did get to use some of the Rockefeller murals architecture and its central propeller motifwhich makes the Controller of the Universe look as if he has dragonfly wings, in the Mexico City frescoLenin and all. Thats the social part of Social Realism, but the style itself could be found in apolitical workthe grayscale and simplifications of form in a print of a rural scene by Victoria Hutson Huntley, say. It is a stand-in, you could say, for something we should be able to see in New York, where Rivera first painted a version of it in 1933. All Rights Reserved, Siqueiros: Biography of a Revolutionary Artist, Mexican Painters: Rivera, Orozco, Siqueiros and other Artists of the Social Realist School, El Mural de Siqueiros en la Argentina/The Mural of Siqueiros in Argentina, Interactive site to find information on artist and movements, How a young revolutionary fooled the city elders, El Primer Articulo Sobre Siqueiros Lo Escribo Raziel Cabildo (in Spanish), Review: 'Paint the Revolution' Offers Mexican Muralist Muscle and Delicate Beauty, David Alfaro Siqueiros Introduction (in Spanish), David Alfaro Siqueiros Mural 'Tropical America' Re-Unveiled in Los Angeles after Decades of Censorship, David Alfaro Siqueiros- "Mexico Today" - Move Mural to Santa Barbara, La Inter-PoesiaPalabras e Imagenes de Navegantes (in Spanish), ENTREVISTA A DAVID ALFARO SIQUEIROS (in Spanish). ", Hoping to revisit the United States and contribute to the struggle against fascism, he was denied entry and went to Cuba where he painted three murals, "Allegory of Racial Equality and Fraternity in Cuba," "New Day of the Democracies" and "Two Mountains of America, Marti and Lincoln.". The shows labels did not tell this tale. Siqueiros returned to Mexico in 1922, where he began working on commissions from a new, revolutionary government. There he also ran a political art workshop in preparation for the 1936 General Strike for Peace and May Day parade. This page was last edited on 1 March 2023, at 11:25. In 1914, Siqueiros enrolled with the rebel Constitutional army, fighting against the Victoriano Huerta government. The notion of the "controlled accident," as adopted by Siqueiros, influenced Jackson Pollock, who attended his Experimental Workshop in New York. When the mural planned for the Hotel de la Selva in Cuernavaca was moved to Mexico City and expanded, he assembled a team of national and international artists to work on the panels in his workshop in Cuernavaca. [35] Numerous protests ensued, even including an appeal advertisement by well-known artists and writers in The New York Times in 1961. David Alfaro Siqueiros (born Jos de Jess Alfaro Siqueiros; December 29, 1896 - January 6, 1974) was a Mexican social realist painter, best known for his large public murals using the latest in equipment, materials and technique. The Whitneys show, Vida Americana: Mexican Muralists Remake American Art, is a study in revisionism, recasting the standard story so that those formerly disregarded and excluded from the canon of modern American art are instead given a place in it. Despite the ammunition belt decorating a white-shirted chest in the foreground, the faces that are visible appear watchful but also hard to read; the effect is a paradox of attractive, inhabited serenity. Although it received generally favorable criticism, some viewed it as Communist propaganda, which led to a partial covering in 1934 and a total whitewash in 1938. Buy david alfaro siqueiros framed prints from our community of independent artists and iconic brands. (Trotsky, granted asylum by President Crdenas, was then living in Mexico.) In 1936, Siqueiros traveled to New York, where he led the Siqueiros Experimental Workshop, an influential laboratory for modern techniques in art. [6] David's grandfather, nicknamed "Siete Filos" ('seven knife-edges'), had an especially strong role in his upbringing. He was formally processed and declared prisoner in the Lecumberri Preventive Prison. In real life, it looms hugely, above yards-high paneling, over a college dining hall in California; its reproduced here complete with the pointed arch in which it resides, but many times smaller than the original, and near eye level. Known for making art that was easily read by the public, especially the lower classes, Siqueiros' message in The March is more difficult to decipher, though it seems to fuse two visions of human progress, one international and one based in Mexican heritage. Every Friday night I go to the Met to draw. His mother Estela Trueba, a dancer from the prestigious Mexican National Ballet Academy is a founding member of the famous Ballet Folklorico. [17] As no color photographs of Tropical America are known to exist, conservators used scientific analysis and best practices to get at the artist's vision of the mural. This art had been made in passionate espousal of the poor and downtrodden, and fury at how the powerless are crushed, yet the show distanced these concerns as quaint or merely pretty, as though these frankly propagandistic images, instead of rousing viewers to righteous action, were only entertaining as a curious side note in art history. The fresco features a group of pre-Conquest style workers in a funeral procession that are carrying a giant coffin, decorated with a hammer and sickle. Folkways may have been less central for the harder-core artists who went to Mexico for the socialist politics of its agrarian revolution, but one of the surprises of this section is a clip of Sergei Eisensteins Que Viva Mxico! [12] The Syndicate became ever more critical of the revolutionary government, due to the State's failure to deliver on promised reforms. In his work, as well as his writing, Siqueiros sought a social realism that hailed the proletariat peoples of Mexico and the world, even as it attempted to avoid the widespread clichs of "Primitivism" and "Indianism".[10]. ", "Let us reject theories anchored in the relativity of 'national art'. "[10] Eventually, Siqueiros would develop a mural technique that involved tracing figures onto a wall with an electric projector, photographing early wall sketches to improve perspective, and new paints, spray guns, and other tools to accommodate the surface of modern buildings and the outdoor conditions. Most of those jobs, often black- and Latino-held, got moved out of the city and then automatedno busting required. Reflecting Siqueiros's study in Europe, the work combines elements of Byzantine icons in the sandy-colored background, with a sculpturesque figure inspired by Renaissance painter Masaccio. The closest thing to a mural by a North American in the show, it honors the people living in this country before European settlers arrived (as do the Mexican works) and shows the settlers as invaders. The female figure is weighty and distinct in her plasticity, unlike the flat, picturesque forms seen in the rest of the building (such as Rivera's Creation). [35] This project, his last major mural, is the largest mural ever painted, an integrated structure combining architecture, in which the building was designed as a mural, with mural painting and polychromed sculpture. His commitment to education and his belief that public art could inform and inspire the masses to demand revolution has served as a model of activism for subsequent artists with political or social agendas. Forms part of: Jackson Pollock and Lee Krasner papers, circa 1914-1984, bulk 1942-1984. As a result, its members faced new threats to cut funding for their art and the newspaper. David Alfaro Siqueiros letter to Jackson Pollock, Sandy Pollock, and Harold Lehman, 1936 Dec.. They were mistaken. David Alfaro Siqueiros was born in 1896 in Chihuahua City, Mexico. David Alfaro Siqueiros was a Mexican painter best known for his involvement in the Mexican Muralism movement, along with Diego Rivera and Jos Clemente Orozco. During his extensive travels around Mexico with the military, he discovered pre-Hispanic art and witnessed the living conditions of Mexican labourers, two experiences that would deeply inform his art. Furthermore, he experimented with industrially produced tools at the time, using unconventional airbrushing. The artist's works have gone up for sale at public auction 1,563 times, mostly in the Print-Multiple category. Rolfe, Edwin, Cary Nelson, and Jefferson Hendricks. A rainbow and a five-point star crown the work. Siqueiros had two siblings: a sister, Luz, three years elder, and a brother "Chucho" (Jess), a year younger. Details. Tropical America depicts American imperialism in Latin America, a much more radical theme than was intended for the work. Which was perhaps one reason that saying an artwork was like illustration in the Sixties was to cast it into outer darkness. He was a member of the Mexican Communist Party, and a . On the left, a personification of the Country, dressed in red, throws her arms up, and is imitated by a young maimed girl beside her. Each museum-quality david alfaro siqueiros framed print may be customized with hundreds of different frame and mat options. . As for subject matter, the worker hero was a mainstream trope in the Depression. It is amusing in quite another wayfor how Eisenstein turns the young man and woman into the proletarians of his Soviet movies as he dwells on their shy smiles with multiple back-and-forth reaction shots, as if emotioneven when naked and unguardedis always ponderous and difficult for audiences to apprehend. 3.80 avg rating 5 ratings published 1977. [36] He constructed an outdoor mural entitled The People to the University, the University to the People at the National Autonomous University of Mexico in Mexico City in 1952. David Alfaro Siqueiros (29. prosince 1896, Chihuahua - 6. ledna 1974, Cuernavaca) byl mexick mal.Pedstavitel tzv. Siqueiros was charged for attempted homicide, criminal association, improper use of uniform, usurpation of functions, breaking and entering, firing a firearm and robbery. He was baptized Jos de Jess Alfaro Siqueiros. Proletarian Mother, 1929 by David Alfaro Siqueiros (1896-1974, Mexico) | Museum Art Reproductions David Alfaro Siqueiros | WahooArt.com Buy 10 paintings and get 20% + 15% off on all items Barnett Newman Birthday, 20% off sitewide! Riveras fresco at the Palacio de Bellas Artes in Mexico City, Man, Controller of the Universe, is reproduced, quite convincingly, at wall size. Exhibitions in recent years have been doing that rewriting in accord with values newly freed from stigma, discovering or rediscovering artists who are female or non-European-American, or who simply didnt fit the strictures of formalist Modernism. Behind a wall of armored, anonymous Spanish soldiers appears La Malinche, a woman of noble blood who became a slave when she was gifted to the conquistador Cortes to become his translator. His accentuation of the angles of the body, its muscles and joints, can be seen throughout his career in his portrayal of the strong revolutionary body. David Alfaro Siqueiros 20th century (Santa Rosala (now Ciudad Camargo), Chihuahua, 1896 - 1974, Cuernavaca) . The son of a celebrated lawyer and wit, Jose David Alfaro Siqueiros was born on Dec. 29, 1896, in Chihuahua, Mexico, The family was of Portuguese descent, much noted for its vitality and longevity . To create his activist and revolutionary public art, Siqueiros brought together elements of avant-garde painting with traditional art historical symbolism and folk art. Showing 16 distinct works. The books and articles below constitute a bibliography of the sources used in the writing of this page. Designed as a political and cultural center, the Polyforum Cultural Siqueiros includes several exhibition spaces, most notably the Forum Universal which houses the interior section of this mural. He painted mostly murals and other portraits of the revolution its goals, its past, and the current oppression of the working classes. His work also influenced Street art, specifically socially concerned artists of the 1960s, which were inspired by his short-lived, highly critical and politicized Los Angeles mural, Tropical America (1932). David Alfaro Siqueiros. [39] A few days before his death, he donated his house in Polanco to the Mexican state; since 1969, it had been used for Public Art Rooms and a Museum of Mural Painting Composition. First in Paris, he absorbed the influence of cubism, intrigued particularly with Paul Czanne and the use of large blocks of intense color. ", Siqueiros, David Alfaro. It was long believed that he was born in Camargo in Chihuahua state, but in 2003 it was proven that he had actually been born in the city of Chihuahua, but grew up in Irapuato, Guanajuato, at least from the age of six. Some of the pictures by the American artists depict violent union-busting, yet the shows vitiation of their political intent seemed all the more ironic for being in the Whitneys new palace in the glitzified district, whose streets not long ago ran with a green oobleck from the meatpacking that gives the neighborhood its name. by. This monumental panel is part of a diptych Siqueiros painted on the second floor of the Palace of Fine Arts. Eliot, in Tradition and the Individual Talent, begat Clement Greenberg, who begat a theory of artistic progression modeled on Hegel (and, ironically, Marx), whereby curators sought anointed scions in the line of descent and artists strove to be onlie begetters. Those essays were an influence, and a theory of influence, that funneled American art into a narrow stream, or intended to. Whichever it was, the indirect result was that he, and we, lost the mural done for Rockefeller Center. David Alfaro Siqueiros (born Jos de Jess Alfaro Siqueiros; December 29, 1896 - January 6, 1974) was a Mexican social realist painter, best known for his large public murals using the latest in equipment, materials and technique. The Mexicans themselves were using European media and techniques; it was said of Rivera that while he never believed in God, he did believe in Picasso (another Communist, among much else). Though his pieces sometimes include landscapes or figures of Mexican history and mythology, these elements often appear as mere accessories to the story of a revolutionary hero or heroes (several works depict the revolutionary "masses", such as the mural at Chapultepec).[40]. The construction of the complex and its decoration was a monumental undertaking, a collaborative project that brought together international teams of architects, artists, and engineers in the construction of a space of public education. Around this figure are symbolic representations of fire (vivid red abstract flames), wind (horizontal spirals that balance the vertical of fire), water (the seashells) and earth ("two giant bones of a tropical fruit"). In "A New Direction for the New Generation of American Painters and Sculptors", he called for a "spiritual renewal" to simultaneously bring back the virtues of classical painting while infusing this style with "new values" that acknowledged the "modern machine" and the "contemporary aspects of daily life". Soon after, Siqueiros painted his famous mural Burial of a Worker (1923) in the stairwell of the Colegio Chico. The iconological program, ultimately, is about a march towards freedom, justice, and peace. The Whitney has found ways to recreate or simulate a few of them, including one long unviewable, by Siqueiros. As with much US work here, the subject is violenceviolence directed against the poor and powerless, the indigenous, and people of color, who cant protect themselves or effectually fight back. But it is also notable how no one in the show worried about appropriation: all oppression was their oppression. He also taught and gave conferences, spreading his Marxist ideals throughout Latin America. Only when split into episodes or formal groups does the scene becomes intelligible: on the left, a dramatically foreshortened Prometheus brings the fire of civilization to man. [14] The mural was washed over within a year of its unveiling due to weather-related issues, and perhaps the Communist content of the work. It depicts a group of workers of mixed ethnicities listening to an angry labor agitator's speech during a break in the workday. Although he went to Spain to support the Spanish Republic against the fascist forces of Francisco Franco with his art, he volunteered and served in frontline combat as a Lieutenant Colonel in the Army of the Republic through 1938 before returning to Mexico City. [7] In Barcelona he published a magazine, La vida Americana, in which he issued a manifesto to the artists of America to reject the decadent influence of Europe and create a new form of public art with the latest tools and technology. Get immediate access to the current issue and over 25,000 articles from the archives, plus the NYR App. Mexico City, Museo Nacional de Arte, Portrait of a Decade: David Alfaro Siqueiros, 1930-1940, 28 November 1996- 16 February 1997, no. Siqueiros was also a pioneer in championing the use of industrially-produced materials and techniques for his work; his personal axiom was that revolutionary art demands revolutionary techniques and materials. 2009. p. 485-488, Siqueiros, Biography of a Revolutionary Artist, (Book Surge, 2009). Where Pop artists embraced these materials to replicate the look of mass-produced objects, Siqueiros considered the paintbrush to be "an implement of hair and wood in an age of steel" and encouraged artists to adopt modern tools as more representative of the modern experience. ", "No one can deny that the satirical cartoon, or the visual arts themselves, are powerful weapons of social change". His Siqueiros Experimental Workshop, led in New York, exposed students (including. The use of industrial material, including airbrushes and commercial lacquers, would later be emblematic of Pop art, although those later artists used these materials to produce diametrically opposite content. Best of The New York Review, plus books, events, and other items of interest. On his right, a group of women march forward triumphantly, carrying symbols of nourishment, life, freedom, poetry and love. The mural embodies Siqueiros' view of Mexican history, in which Good is clearly demarcated from Evil. He would continue to make explicit and denunciatory murals throughout his career, earning him a rebellious reputation. ", "Tools, like materials, are not inert elements in hands of a creator of the arts, but forces that determine the manner and style of art. Thanks to art historian Raquel Tibol, who found a birth certificate for him, we know now that he was born in Mexico City, not Camargo or the state of Chihuahua. It was the first overtly political act in a life that would be heavily influenced by personal ideology. They took the universality of sympathetic emotion as given. document.getElementById( "ak_js_2" ).setAttribute( "value", ( new Date() ).getTime() ); Anna Shapiro is the author of three novels and a collection of essays about fiction. Not long after their arrival to the United States, the Bauhaus instructors Josef and Anni Albers went looking for America and found it in Mexico. Measuring approximately 80 x 18 feet, Amrica Tropical depicts a Mexican Indian, crucified on a double . David Alfaro Siqueiros Moiss Senz 1931 Not on view The most politically radical of the trio of Mexican muralists known as "the three giants," David Alfaro Siqueiros sought to create an art that communicated his Communist ideology to a large proletarian audience. All the time. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. 0 Reviews. Urbana: Rolfe, Edwin, Cary Nelson, and Jefferson Hendricks. With this, his first public commission, Siqueiros sought to differentiate himself from the muralists that had previously painted in the school, including Diego Rivera. Along with Jos Clemente Orozco, Rufino Tamayo, and Diego Rivera, he showed work at the XXV Venice Biennale (the first time Mexico had ever participated) and received the second prize. Most of the art made by the US denizens shown here is small, often black-and-white graphics, the greatest exception being a broad selection of panels from Thomas Hart Bentons wall composition American Historical Epic (19191928). While in Paris, he met Diego Rivera, another Mexican artist who shared his vision for the future of Mexican art, and the pair quickly became excellent friends. Mini Bio (1) David Alfaro Siqueiros was born on December 29, 1896 in Camargo, Chihuahua, Mexico. During the period in 1932 when David Alfaro Siqueiros was in Los Angeles, he painted three murals: Street Meeting at the Chouinard Art Institute; Amrica Tropical at El Pueblo de Los Angeles; and Portrait of Mexico Today at a private residence in Pacific Palisades. Oil on burlap, 98 1/16 70 7/8 in. The black-and-white photo of it was a lucky find that has been blown up to wall size; the original, from 1932, depicting the crucifixion of an indigenous man, looming over Los Angeless Olvera Street, was whitewashed soon after its creation. Fresco applied with Airgun on Cement - Plaza Art Center, Los Angeles, California. He envisioned an art that would invest the traditions of painting with modern significance and politics. [1] Anos depois entrou para a Academia de San Carlos [1] no Mxico e, finalmente, para a Escola de Santa Anita, a qual abandonou para alistar-se no Exrcito Constitucionalista. But the exhibit opens with its lushest works, freestanding, in various media, under the rubric Romantic Nationalism and the Mexican Revolution, and this is easily the most seductive section. The south wall (shown) depicts the Chilean indigenous peoples in their struggle for freedom and independence from the European Conquistadores; the north wall echoes this with representations of indigenous Mexicans. [7] His military travels around the country exposed him to Mexican culture and the raw, everyday struggles of the working and rural poor classes. Their protests eventually led to the establishment of an "open-air academy" in Santa Anita[es].[7]. Tomb of David Alfaro Siqueiros in Panten de Dolores, Escultura Don Manuel Suarez and Siqueiros. Name: David Alfaro Siqueiros Birth Year: 1896 Birth date: December 29, 1896 Birth City: Chihuahua Birth Country: Mexico Gender: Male Best Known For: David Alfaro Siqueiros was a Mexican painter. Or, see all newsletter options here. In addition, many works, especially in the 1930s, prominently feature hands, which could be interpreted as another heroic symbol of proletarian strength through work: his self-portrait in prison (El Coronelazo, 1945, Museum of Modern Art, Mexico City), Our Present Image (1947, Museum of Modern Art, Mexico), New Democracy (1944, Palace of Fine Arts, Mexico City), and even his series on working class women, such as The Sob. The first, entitled Street Meeting, was commissioned for the Chouinard School of Art. Background David Alfaro Siqueiros (1896-1974), one of the great Mexican artists of the twentieth century, painted Amrica Tropical in 1932 on the second story exterior wall of the Italian Hall, located in the center of El Pueblo de Los Angeles Historical Monument in downtown Los Angeles. Siqueiros was located by the police in a property supposedly rented by Angelica and Luis Arenal (Siqueiros's wife and brother-in-law respectively) in the outskirts of the capital. Date based on Stein and Siqueiros' approximate ages in photo. "Siqueiros y los orgenes del movimiento rojo en Jalisco: El movimiento minero.". One of the founders of the Mexican school of mural painting. Autor: David Alfaron Siquieros Fecha: 1929 Categora: Oleo sobre arpillera Dimensiones: 249x180 cm Ubicacin actual: Museo de Arte Moderno, Mxico DF, Mxico Estilo: Muralismo Mexicano Forma de comunicar y expresar el descontento Crea cierta libertad de expresin y ayuda a liberar al pueblo Apoya Reforma agraria Apoya y ayuda Obreros Content compiled and written by The Art Story Contributors, Edited and revised, with Summary and Accomplishments added by Sarah Archino, For Complete Social Security of All Mexicans (1952-54), "Our primary aesthetic aim is to propagate works of art which will help destroy all traces of bourgeois individualism. The images seem meant as proof that, yes, Mexican men really do wear sombreros and serapes, and the women actually carry handsome local pottery on their braid-ornamented heads. Two feature calla liliesFlower Day (1925), by Rivera, and Calla Lily Vendor (1929), by Alfredo Ramos Martnez, carried on the back in vast bundles so that the irresistibly glamorous flowers almost fill the upper frame from edge to edge. See details. Their subjects are educational, such as The Industrialization of the Countryside, and their images action-packed, like Bruegels, but structured by the architecture, and very much part of peoples livesas backdrop rather than foreground for the shoppers roaming the giant mercado, though clearly some visitors are there just to look. David Alfaro Siqueiros: Mural Painting Antonio Rodrguez , David Alfaro Siqueiros Fondo Editorial de la Plstica Mexicana , 1992 - Art and society - 151 pages This is the central panel of a triptych, along with panels commemorating the Victims of War and Victims of Fascism. Many details of Siqueiros's childhood, including birth date, birthplace, first name, and where he grew up, were misstated during his life and long after his death, in some cases by himself. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet. [36] During that stay, he would make numerous sketches for the project of decorating the Hotel Casino de la Selva, owned by Manuel Suarez y Suarez. Although he was barred from the United States, most of the students were American GIs who were being paid to study under him. We reject so-called Salon painting and all the ultra-intellectual salon art of the aristocracy and exalt the manifestation of monumental art because they are useful. His art is one of violent social protest expressed in dynamic, swirling brushstrokes, dramatic contrasts of light and shade, brilliant colors and heroic themes, all visible in the available work Atrapado. New York Times / David Alfaro Siqueiros (born Jos de Jess Alfaro Siqueiros; December 29, 1896 January 6, 1974) was a Mexican social realist painter, best known for his large public murals using the latest in equipment, materials and technique. Banco de Mxico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), NY/The Museum of Modern Art/SCALA/Art Resource, NY, Diego Rivera: Flower Festival: Feast of Santa Anita, 1931, What we see of American artists in Romantic Nationalism seems far less reflective of politics even than these slightly unreadable paintings. Combined, the two murals allude to the invention of the atomic bomb, and the unjust pain and destruction made possible by military superiority and inhumanity. In 1922, Siqueiros returned to Mexico City to work as a muralist for lvaro Obregn's revolutionary government. He was to become one of Mexico's most original and distinguished painters. (It originated at the Wexner Center for the Arts in. Siqueiros teve suas primeiras aulas de pintura com o mestre mexicano Solares Gutirrez. Browse 125 david alfaro siqueiros stock photos and images available, or search for jose clemente orozco or diego rivera to find more great stock photos and pictures. The accompanying panel, The Apotheosis, stretches from this historical moment to the contemporary to include a schematic depiction of the atom. David Alfaro Siqueiros, fdd 29 december 1896 i Camargo i Chihuahua, dd 6 januari 1974 i Cuernavaca i Morelos, var en mexikansk mlare och en av de frmsta fretrdarna fr den mexikanska muralismen. [11] The mural was never finished and was vandalized by students at the school who did not agree with the work's overtly political subject matter. David Alfaro Siqueiros (Mexican 1896-1974) Los dos Davides. Among the smaller works, it was old home week for me. Shop for david alfaro siqueiros wall art from the world's greatest living artists. [34] Siqueiros's colleague Josep Renau completed the SME mural, transforming the generator into a machine that converts the blood of workers into coins. American-born poet and eventual fellow Spanish Civil War participant Edwin Rolfe was a great admirer of Siqueiros's "ability to function" as "artist and revolutionary". He began working on commissions from a New, revolutionary government were paid. Estela Trueba, a much more radical theme than was intended for the Arts in gone up for sale the!, even including an appeal advertisement by well-known artists and iconic brands 485-488, Siqueiros brought elements! 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