{"id":97615,"date":"2019-10-21T08:20:25","date_gmt":"2019-10-21T13:20:25","guid":{"rendered":"https:\/\/centrourbano.com\/?p=97615"},"modified":"2019-10-21T00:21:31","modified_gmt":"2019-10-21T05:21:31","slug":"muralistas-coleccion-del-pba","status":"publish","type":"post","link":"https:\/\/centrourbano.com\/revista\/arquitectura-2\/muralistas-coleccion-del-pba\/","title":{"rendered":"Los muralistas que enriquecieron la colecci\u00f3n de Bellas Artes"},"content":{"rendered":"<p><em>A las obras de<\/em> <em>Rivera, Orozco y Siqueiros se sumaron las de los muralistas<\/em> <em>Rufino Tamayo, Jorge Gonz\u00e1lez Camarena, Roberto Montenegro y Manuel Rodr\u00edguez Lozano<\/em><!--more--><\/p>\n<p>El <strong>Palacio de Bellas Artes<\/strong> es, por excelencia, el referente del <strong>movimiento muralista mexicano<\/strong>, ya que cuenta con una <strong>colecci\u00f3n de 17 obras<\/strong>, realizada entre 1928 y 1963 y que da cuenta de las distintas etapas, estilos, t\u00e9cnicas y lenguajes art\u00edsticos del movimiento.<\/p>\n<p>Representando la primera etapa del movimiento art\u00edstico en M\u00e9xico, en las paredes del <strong>Palacio de Bellas Artes<\/strong> se encuentras obras de los muralistas <strong>Diego Rivera, Jos\u00e9 Clemente Orozco y David Alfaro Siqueiros,<\/strong> a los que, posteriormente, se les sumaron las de <strong>Rufino Tamayo, Jorge Gonz\u00e1lez Camarena, Roberto Montenegro y Manuel Rodr\u00edguez Lozano.<\/strong><\/p>\n<a href=\"https:\/\/centrourbano.com\/revista\/wp-content\/uploads\/13166-GAL-ba_murales_01-2015-ch-16_.jpg\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-97621\" src=\"https:\/\/centrourbano.com\/revista\/wp-content\/uploads\/13166-GAL-ba_murales_01-2015-ch-16_.jpg\" alt=\"\" width=\"346\" height=\"519\" srcset=\"https:\/\/centrourbano.com\/revista\/wp-content\/uploads\/13166-GAL-ba_murales_01-2015-ch-16_.jpg 788w, https:\/\/centrourbano.com\/revista\/wp-content\/uploads\/13166-GAL-ba_murales_01-2015-ch-16_-200x300.jpg 200w, https:\/\/centrourbano.com\/revista\/wp-content\/uploads\/13166-GAL-ba_murales_01-2015-ch-16_-768x1151.jpg 768w, https:\/\/centrourbano.com\/revista\/wp-content\/uploads\/13166-GAL-ba_murales_01-2015-ch-16_-683x1024.jpg 683w\" sizes=\"auto, (max-width: 346px) 100vw, 346px\" \/><\/a>\n<p>La obra de dichos muralistas, alejada de la <strong>Escuela Mexicana de Pintura,<\/strong> expresa con un <strong>nuevo lenguaje pl\u00e1stico<\/strong> su visi\u00f3n particular sobre la <strong>historia, la identidad nacional y el M\u00e9xico contempor\u00e1neo,<\/strong> representando las nuevas tendencias art\u00edsticas de mediados del siglo XX y la revoluci\u00f3n que se gest\u00f3 en el arte mexicano.<\/p>\n<p>El artista oaxaque\u00f1o <strong>Rufino Tamayo<\/strong> realiz\u00f3 dos murales en el <strong>Palacio de Bellas Artes<\/strong> por petici\u00f3n de Carlos Ch\u00e1vez y Fernando Gamboa, entonces director y subdirector del <strong>Instituto Nacional de Bellas Artes y Literatura (INBAL)<\/strong>, respectivamente.<\/p>\n<p>En la primera obra, <strong><em>Nacimiento de nuestra nacionalidad <\/em>(1952)<\/strong>, <strong>Tamayo<\/strong> representa el nacimiento de la nacionalidad mexicana como una conquista violenta del cuerpo ind\u00edgena feminizado, a trav\u00e9s de la imagen de un espa\u00f1ol a caballo, quien pisotea a la civilizaci\u00f3n ind\u00edgena, y la figura de una madre que da a luz a las cr\u00edas de una naci\u00f3n mestiza.<\/p>\n<p>El segundo mural, <strong><em>M\u00e9xico de hoy <\/em>(1953)<\/strong>, est\u00e1 dividido en tres registros visuales, con un sombreado sutil alusivo a los colores verde, blanco y rojo. En el centro se encuentra el mexicano moderno sobre un marco arquitect\u00f3nico que es templo griego y pir\u00e1mide azteca a la vez. Asimismo, se aprecia, del lado izquierdo, las ruinas de la civilizaci\u00f3n mesoamericana y, a la derecha, una ciudad moderna, de esta forma, el artista refleja una dualidad carente de reconciliaci\u00f3n y la confusi\u00f3n del mestizo moderno.<\/p>\n<p><strong>Jorge Gonz\u00e1lez Camarena<\/strong> realiz\u00f3, en 1963 el \u00faltimo mural que encarg\u00f3 para el <strong>Palacio de Bellas Artes<\/strong>, titulado<strong> <em>La humanidad se libera de la miseria<\/em><\/strong> o <em><strong>Liberaci\u00f3n<\/strong>, <\/em>una composici\u00f3n dividida en tres secciones que une las tem\u00e1ticas del martirio, la guerra, el fascismo y la lucha nacional, a trav\u00e9s de la representaci\u00f3n del pasado violento de M\u00e9xico y lo convierte en met\u00e1fora de la lucha de la humanidad en la \u00e9poca de la posguerra.<\/p>\n<p>Las obras de los muralistas <strong>Roberto Montenegro<\/strong> y <strong>Manuel Rodr\u00edguez Lozano<\/strong> fueron rescatados de edificios afectados por el sismo de 1957 y llevados al <strong>Palacio de Bellas Artes<\/strong> como parte de un programa de conservaci\u00f3n y preservaci\u00f3n del <strong>INBAL<\/strong>.<\/p>\n<p><strong>Manuel Rodr\u00edguez Lozano<\/strong> realiz\u00f3 <strong><em>La piedad en el desierto<\/em> (1942)<\/strong> durante su estad\u00eda en la<strong> prisi\u00f3n de Lecumberri,<\/strong> donde permaneci\u00f3 cuatro meses y medio acusado por el robo de cuatro grabados que eran parte de la colecci\u00f3n de la <strong>Escuela Nacional de Bellas Artes.<\/strong><\/p>\n<p>La obra es un homenaje a la mujer mexicana que sostiene en sus brazos al hijo ca\u00eddo, sin importar el delito que haya cometido y en la que plasma el sufrimiento humano. La obra fue despendida de los muros de la penitenciar\u00eda, restaurada y trasladada al <strong>Palacio de Bellas Artes<\/strong> en 1967.<\/p>\n<p>En tanto, <strong>Roberto Montenegro<\/strong> pint\u00f3<strong> <em>Alegor\u00eda del viento<\/em><\/strong> o <strong><em>El \u00e1ngel de la paz<\/em> (1928)<\/strong> en el antiguo <strong>Colegio M\u00e1ximo de San Pedro y San Pablo<\/strong>. El mural resalta el estilo neocl\u00e1sico a trav\u00e9s de matices \u00fanicos que encierran el esp\u00edritu del pueblo mexicano, y fue trasladada al <strong>Palacio de Bellas Artes<\/strong> en 1965.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A las obras de Rivera, Orozco y Siqueiros se sumaron las de los muralistas Rufino Tamayo, Jorge Gonz\u00e1lez Camarena, Roberto Montenegro y Manuel Rodr\u00edguez Lozano<\/p>\n","protected":false},"author":73,"featured_media":97618,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"inline_featured_image":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[81],"tags":[20,2043,14916,16506,1251],"class_list":["post-97615","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arquitectura-2","tag-arquitectura","tag-cultura","tag-inbal","tag-muralismo-mexicano","tag-palacio-de-bellas-artes"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Los muralistas que enriquecieron la colecci\u00f3n del Palacio de Bellas Artes<\/title>\n<meta name=\"description\" content=\"A la obra de Rivera, Orozco y 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