Description
The work "called to the Revolution and Table of the Universal Brotherhood (return to the house of the new day worker)" by José Clemente Orozco, painted in 1931, is a powerful expression of the social and political ideals that characterize the work of the work of the master Mexican muralist. Orozco, central figure of Mexican muralism with Diego Rivera and David Alfaro Siqueiros, uses his particular aesthetics to capture a deep narrative that invites reflection on the individual's struggle in search of justice and fraternity.
In this work, Orozco opts for a composition that attracts the viewer towards a complex set of figures and symbols. In the center of painting, a table represents universal fraternity, a recurring reason in art that alludes to inclusion, community and dialogue between peoples. However, a notable contrast is perceived between the table, which evokes hope and union, and the actions and expressions of the characters that surround it, who seem to be immersed in struggle and resistance.
The characters in the work are represented with a strong sense of dynamism. The central figure, seen on a closer plane, seems to summon others towards the table, as if it were a leader or a guide. This representation not only of a hero, but of a group that seeks emancipation, is characteristic of the style of Orozco, who frequently portrays the struggle of the human being in his relationship with power. The expressiveness of the figures is accentuated through their gestures and attitudes, which communicate a broad spectrum of emotions, from determination to suffering.
The use of color in this work is essential to capture the essence of the message that Orozco wants to transmit. The dark tones that suggest oppression predominate, contrasted with light touches that highlight the hope of the new day. This game of lights and shadows, so characteristic of its style, not only gives volume to the figures, but reinforces the dramatic atmosphere of the scene, inviting the observer to question their role in social and political discourse.
Orozco distances himself from the idealization of the human figure, presenting instead a more crude and realistic vision of the human being in struggle. This approach emphasizes the vulnerability of the worker, even in his way to redemption and belonging. The work can be interpreted as a criticism of the social and political system of the time, resonating with the concerns of a Mexico in the process of change after the revolution.
In the context of muralism, "called to the revolution and table of the universal brotherhood" is among other works of Orozco as "the man of fire" or "Prometheus", where tensions are also reflected between the individual and society, so as the search for a fairer ideal. The work becomes a call not only to action, but to reflection on the human condition and our responsibilities within a community.
When we consider this painting, we find that Orozco is not only making an artistic representation, but is establishing a continuous dialogue between the past and the present, the struggle and hope, the individual and the community. His vision remains in force, challenging the viewer to recognize himself in the fight for a more equitable and united future. "Call to the revolution and table of the Universal Brotherhood" transcends the pictorial work to become an icon of social justice desire, a call that is still alive in our days.
KUADROS ©, a famous paint on your wall.
Hand-made oil painting reproductions, with the quality of professional artists and the distinctive seal of KUADROS ©.
Art reproduction service with satisfaction guarantee. If you are not completely satisfied with the replica of your painting, we refund your money 100%.