Paradojas en las imágenes sobre la conquista: Murales de José Clemente Orozco y Jorge González Camarena

• Ana María Torres Arroyo ^[1]
  1. [1] Universidad Iberoamericana

     Universidad Iberoamericana

     México

     
• Localización: Americanía: revista de estudios latinoamericanos de la Universidad Pablo de Olavide de Sevilla, ISSN-e 2174-0178, Nº. 5, 2017, págs. 9-33
• Idioma: español
• Títulos paralelos:
  • Paradoxes in the images of the conquest: The murals of José Clemente Orozco y Jorge González Camarena
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• Resumen
  • español

    En los años posrevolucionarios se construyeron discursos e imaginarios colectivos que presentaron la Conquista como un episodio violento pero también como la fusión de dos realidades contrapuestas y unidas al mismo tiempo, cuyo resultado fue el comienzo de una nueva raza y una nueva cultura: la mestiza. Es por esto importante entender que el contenido del discurso nacionalista sobre la Conquista se fabricó a partir de una gran paradoja: destrucción y construcción en paralelo. El muralismo representó este hecho histórico como parte de las dinámicas unificadoras e identitarias de la nación. En este artículo, tomaré en cuenta el pensamiento de filósofos, escritores, poetas y pintores centrando la atención en el mestizaje con el fin de establecer posibles conexiones entre la propuesta formal y de contenido de los murales: Cortés y La Malinche (1926), La conquista (ca. 1940-45) de José Clemente Orozco (1883-1949) y La fusión de dos culturas (1963) de Jorge González Camarena (1908-1980).

    In the years that followed the revolution, collective discourses and imagery were built that portrayed the Conquest as a violent episode, but also as a fusion of two realities that were both opposed and united, resulting in the beginning of a new race and a new culture: the mestiza. It is therefore important to understand that the content of the nationalist discourse in relation to the Conquest was created from a great paradox: destruction and parallel construction. Muralism represented this historical fact as part of the unifying and identity dynamics of the nation. In this article, I will take into account the thinking of philosophers, writers, poets and painters, paying special attention on miscegenation in order to establish possible connections and comparisons between the formal and content proposal of the following murals: Cortés and La Malinche (1926), The conquest (ca. 1940-45) by Jose Clemente Orozco (1883-1949) and The fusion of two cultures (1963) by Jorge González Camarena (1908-1980).

  • English

    In the years that followed the revolution, collective discourses and imagery were built that portrayed theConquest as a violent episode, but also as a fusion of two realities that were both opposed and united, resultingin the beginning of a new race and a new culture: the mestiza. It is therefore important to understand thatthe content of the nationalist discourse in relation to the Conquest was created from a great paradox:destruction and parallel construction. Muralism represented this historical fact as part of the unifying andidentity dynamics of the nation. In this article, I will take into account the thinking of philosophers, writers,poets and painters, paying special attention on miscegenation in order to establish possible connections andcomparisons between the formal and content proposal of the following murals: Cortés and La Malinche (1926), The conquest (ca. 1940-45) by Jose Clemente Orozco (1883-1949) and The fusion of two cultures(1963) by Jorge González Camarena (1908-1980)