1 00:00:00,120 --> 00:00:01,920 Speaker 1: This Day in History Class is a production of I 2 00:00:02,040 --> 00:00:06,880 Speaker 1: Heart Radio. Hi everyone, I'm Eves and welcome to This 3 00:00:06,960 --> 00:00:10,040 Speaker 1: Day in History Class, a podcast where we dust off 4 00:00:10,080 --> 00:00:12,640 Speaker 1: a little piece of history and placed it ever so 5 00:00:12,720 --> 00:00:18,160 Speaker 1: gently on your brainshelf every day. Today is November nineteen. 6 00:00:25,320 --> 00:00:29,800 Speaker 1: The day was November twenty three, eighty three. J. Clement 7 00:00:30,160 --> 00:00:34,280 Speaker 1: Rosco was born to Dnio Rosco and Rosa Flores in 8 00:00:35,080 --> 00:00:40,400 Speaker 1: El Grande, Mexico. Now see you dot Gooseman. Odosko went 9 00:00:40,440 --> 00:00:43,879 Speaker 1: on to become a renowned caricaturist and painter, known for 10 00:00:43,960 --> 00:00:48,600 Speaker 1: his Fresco murals. Odosko's family moved to Guadalajara in eighteen 11 00:00:48,600 --> 00:00:51,280 Speaker 1: eighty six, and by eighteen eighty eight they had made 12 00:00:51,280 --> 00:00:55,280 Speaker 1: their way to Mexico City. His passion for art blossomed 13 00:00:55,320 --> 00:00:57,840 Speaker 1: there as he admired the art in the workshop of 14 00:00:58,360 --> 00:01:04,160 Speaker 1: Guadalupe Posada, a printmaker whose work included political and social commentary. 15 00:01:04,720 --> 00:01:06,920 Speaker 1: As he passed the workshop on his way to and 16 00:01:06,959 --> 00:01:11,399 Speaker 1: from school, he became fascinated by the style of postadas illustrations. 17 00:01:12,319 --> 00:01:15,800 Speaker 1: Atosko studied art in Mexico City, taking classes at the 18 00:01:15,840 --> 00:01:20,440 Speaker 1: San Carlos Academy of Fine Arts. By his parents had 19 00:01:20,480 --> 00:01:24,120 Speaker 1: sent him to the country to study agriculture for pragmatic reasons. 20 00:01:24,560 --> 00:01:27,240 Speaker 1: He studied at the School of Agriculture in San Jacinto 21 00:01:27,560 --> 00:01:30,959 Speaker 1: and attended the National Preparatory School with the intent of 22 00:01:31,000 --> 00:01:35,280 Speaker 1: studying architecture later, but in nineteen o three, his father 23 00:01:35,440 --> 00:01:39,120 Speaker 1: died of typhus, so Otosko began working to support his 24 00:01:39,200 --> 00:01:42,840 Speaker 1: mother and siblings and pay his way through college. He 25 00:01:42,920 --> 00:01:46,200 Speaker 1: took a job as an architectural draftsman and hand tinted 26 00:01:46,280 --> 00:01:50,880 Speaker 1: post mortem portraits. He wasn't as passionate about agriculture, math, 27 00:01:51,000 --> 00:01:55,400 Speaker 1: and architecture as he was about painting. Atsko also injured 28 00:01:55,480 --> 00:01:58,440 Speaker 1: his eye and lost his left hand in an accidental explosion, 29 00:01:58,960 --> 00:02:03,200 Speaker 1: so he began studying art again at the San Carlos Academy. 30 00:02:03,560 --> 00:02:07,559 Speaker 1: By nineteen tent Otsko's artwork was getting attention. That year, 31 00:02:07,800 --> 00:02:11,359 Speaker 1: some of his drawings got recognition at an exhibition commemorating 32 00:02:11,440 --> 00:02:16,200 Speaker 1: the centenary of Mexican independence from Spain. The Mexican Revolution, 33 00:02:16,320 --> 00:02:20,040 Speaker 1: which was unfolding around this time, affected his artistic viewpoint. 34 00:02:20,520 --> 00:02:23,840 Speaker 1: Opposition to the regime of President port Rio Dias spread, 35 00:02:24,280 --> 00:02:28,160 Speaker 1: and political and social turmoil escalated as power changed hands. 36 00:02:29,280 --> 00:02:33,120 Speaker 1: Otosco participated in a student strike, and he began creating 37 00:02:33,160 --> 00:02:37,639 Speaker 1: illustrations for radical newspapers. He painted with black and what 38 00:02:37,680 --> 00:02:41,400 Speaker 1: he said were quote the colors exiled from Impressionist palettes. 39 00:02:42,200 --> 00:02:44,919 Speaker 1: He depicted locals who went to the bars and brothels 40 00:02:44,960 --> 00:02:48,360 Speaker 1: in his neighborhood. Informed by the context of the Mexican 41 00:02:48,400 --> 00:02:52,960 Speaker 1: Revolution and the culture of Mexico City, he emphasized injustice 42 00:02:53,080 --> 00:02:57,239 Speaker 1: and corruption. One of the artists who influenced his work 43 00:02:57,360 --> 00:03:02,200 Speaker 1: was Julio Rules, a Mexican symboli who created dark, hallucinatory 44 00:03:02,280 --> 00:03:07,720 Speaker 1: images of mythological characters, the subconscious and his own tormented face. 45 00:03:08,919 --> 00:03:12,240 Speaker 1: While in Ordi Saba, working for the revolutionary newspaper lave 46 00:03:12,280 --> 00:03:17,600 Speaker 1: Ban Guardia, he met David Alfado, Sicatos and Diego Rivera, who, 47 00:03:17,639 --> 00:03:20,120 Speaker 1: along with him, would later be known as the Big 48 00:03:20,160 --> 00:03:25,520 Speaker 1: Three in Mexican muralism. Dr Ato, also known as Harrado Mario, 49 00:03:26,040 --> 00:03:30,120 Speaker 1: edited lave Ban Guardia. Dr Ato had met Arosco at 50 00:03:30,120 --> 00:03:33,840 Speaker 1: the San Carlos Academy years earlier and inspired him to 51 00:03:33,840 --> 00:03:38,040 Speaker 1: embrace Mexican themes in his art. After his solo exhibition 52 00:03:38,160 --> 00:03:41,520 Speaker 1: House of Tears received a lot of negative criticism, he 53 00:03:41,640 --> 00:03:45,440 Speaker 1: turned to the US to find new opportunities. He got 54 00:03:45,480 --> 00:03:48,760 Speaker 1: to the US in nineteen seventeen, where customs took a 55 00:03:48,760 --> 00:03:52,960 Speaker 1: lot of his paintings because they were deemed indecent. After 56 00:03:53,000 --> 00:03:55,400 Speaker 1: spending two years in the States working on his art, 57 00:03:55,760 --> 00:04:00,040 Speaker 1: he returned to Mexico. His career in muralism began in 58 00:04:00,120 --> 00:04:03,440 Speaker 1: nineteen twenty three, when he started painting his first murals 59 00:04:03,480 --> 00:04:07,160 Speaker 1: at the National Preparatory School in Mexico City. Cicados and 60 00:04:07,320 --> 00:04:11,640 Speaker 1: Rivera were also doing murals here. This same year, Autosko 61 00:04:11,760 --> 00:04:14,920 Speaker 1: married Margharita via Dadas and helped found the Union of 62 00:04:14,920 --> 00:04:20,960 Speaker 1: Revolutionary Painters, Sculptors and Engravers. As he completed more murals, 63 00:04:21,000 --> 00:04:26,440 Speaker 1: his work received more praise and international attention. In nineteen seven, 64 00:04:26,720 --> 00:04:28,920 Speaker 1: he went back to the U S, where he found 65 00:04:28,960 --> 00:04:33,600 Speaker 1: inspiration in the artwork of European artists like Francisco Goya 66 00:04:33,760 --> 00:04:36,760 Speaker 1: and was influenced by the impact of the Great Depression. 67 00:04:37,560 --> 00:04:41,120 Speaker 1: He stayed in the US until nineteen thirty four. The 68 00:04:41,240 --> 00:04:44,560 Speaker 1: Epic of American Civilization, a cycle of murals that he 69 00:04:44,600 --> 00:04:47,800 Speaker 1: completed at Dartmouth College, was a highlight of his art 70 00:04:47,839 --> 00:04:51,800 Speaker 1: career in the US. Autosko went back to Mexico after 71 00:04:51,839 --> 00:04:54,800 Speaker 1: he left the US, and he stayed there throughout most 72 00:04:54,839 --> 00:04:58,920 Speaker 1: of the nineteen forties, constantly adding to his already robust 73 00:04:58,960 --> 00:05:03,040 Speaker 1: body of work by creating new murals exhibiting his idealistic 74 00:05:03,120 --> 00:05:07,279 Speaker 1: and pessimistic perspective. He painted murals in the Palace of 75 00:05:07,320 --> 00:05:11,359 Speaker 1: Fine Arts in Mexico City, the University of Guadalajara, the 76 00:05:11,400 --> 00:05:15,720 Speaker 1: Governor's Palace, the Auspicio Cabanas, and the Palace of Justice 77 00:05:15,720 --> 00:05:20,599 Speaker 1: in Mexico City, among other locations. He also created smaller 78 00:05:20,600 --> 00:05:25,200 Speaker 1: works like engravings, eaesel paintings, and portraits. He continued to 79 00:05:25,240 --> 00:05:28,120 Speaker 1: work on frescoes until he died of heart failure at 80 00:05:28,120 --> 00:05:32,120 Speaker 1: the age of sixty five. Even though he faced censorship 81 00:05:32,200 --> 00:05:35,599 Speaker 1: and financial struggles, he played a key role in invigorating 82 00:05:35,640 --> 00:05:38,800 Speaker 1: the public arts movement and has been honored for exposing 83 00:05:38,800 --> 00:05:43,919 Speaker 1: Mexican art to a wider international audience. I'm Eaves jeffco 84 00:05:44,080 --> 00:05:46,719 Speaker 1: and hopefully you know a little more about history today 85 00:05:46,920 --> 00:05:50,280 Speaker 1: than you did yesterday. 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