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Arnold Belkin December 9, neito July 3, was a Canadian – Mexican painter credited for continuing the Mexican muralism tradition at a time when many Mexican painters were shifting away from it.
Born and raised in western Canada, he trained as an artist there but was not drawn to traditional Canadian art. Instead he was inspired by images of Diego Rivera ‘s work in a magazine to move to Mexico when he was only eighteen.
He studied further in Mexico, focusing his education and his career mostly on murals, creating a type of work he called a “portable mural” as a way to adapt it to new architectural style. He also had a successful career creating canvas works as well with several notable series of paintings. He spent most of his life and career in Mexico except for a stay in New York City in the late s to mids. His mother was a Jewish immigrant from England. He began drawing and painting at an early age.
His parents were socialist, which would affect his later artwork, giving him an harshal in social issues and the rights of the underprivileged. At age 14 he discovered the work of Diego Rivera and Mexican muralism from Time magazine. In he traveled to various parts of Mexico, especially the Isthmus of Tehuantepec. From this trip, he wrote a script for a radio documentary on the region’s music, customs and legends, produced by Canadian Broadcasting Corporation. In the same year, he met David Alfaro Siqueirosforming both a personal and professional relationship.
After they divorced, he had numerous relationships but did not remarry or have more children. Belkin died in Mexico City on July 3, from lung cancer at age Belkin’s career spanned more than three decades, during which time he produced 28 major public murals, various smaller ones, with about ninety individual exhibitions and over fifty collective ones in Mexico and abroad and designed sets and costumes for forty Mexican stage productions, as well as other activities.
During the rest of the decade, he painted a number of murals in various parts of the country.
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In he painted Canto a la tierraseveral fresco panels based on poems by Nezahualcoyotl at the Banco de Monterrey. From to he painted a mural on a federal prison in Mexico City called Todos somos culpables. This tells the story of a criminal committing crime, getting caught and punished but from a social worker point of view rather than a law-and-order one.
From the late s to mids, Belkin ojed and worked xe New York City.
One major mural done here was a wall in Hell’s Aprovechamieentos measuring almost 40, square feet from to To complete the extremely large project, he enlisted help from anyone willing to be taught. The result was Against Domestic Colonialism belonging not only to the artist but the community. Over the decades, this mural has escaped most of the graffiti that covers most other surfaces in the area. In he was artist-in-residence at the Lock Aprovechamienfos University of Pennsylvania. When he returned to Mexico, he continued to paint murals.
It is this work for which he is best known. El hombre y el cosmos, Genesis de un nuevo ordenOmnicienciaImagenes de nuestros dias, Una utopia posibleMuerte de la ignorancia and Transformacion de la sociedadas well as a number of sculptures. He finished the last mural in on Building E after painting the library and the social sciences building.
During this period, he also painted from to the mural Identidad y futuro the Colegio Madrid. This would be his last major work. In addition to more traditional foerstales, Belkin created what he called “portal murals,” large scale paintings which can be moved and adapted as a way to deal with changing architectural tastes such as lower walls and the use of prefabricated panels.
He created ten major pieces of this type of work. At various points in his career, Belkin was a professor and teacher, a;rovechamientos related to mural work. In he began teaching mural painting at the Universidad de las Americas. From to he was a guest lecturer at the Pratt Institute in Brooklyn.
In addition to murals, Belkin also created a large number of canvas works with which he had success in exhibitions. His first individual exhibition was at the Instituto Cultural Anglo-Mexicano sponsored by the Xe Embassy inwith the introduction written by David Alfaro Siqueiros. His fame increased in the s with exhibitions in the United States, VenezuelaColombia and Cuba.
In he manuak a series of paintings called Historic Battlesconsidered to be some of his best canvas work. However all deal with the violence of armed men during war against the defenseless. He also painted images of the future and of utopia, such as Armoured Figure done in Aprovechamietnos York. This one is a warning against technology enslaving the human spirit. This included some of his portable murals. His other major series of paintings is dedicated to Emiliano Zapata, started in Ed works are a kind of documentary based on photographs and other visual references to the Mexican Revolution figure.
From to he worked on a series of drawings and paintings called Los amantes based on love poems by Mario Benedetti. The series also included photographs by Rafael Doniz of lovers embracing in the middle of scenes of social conflict.
In he presented an exhibition of drawings from to at the Casa del Lago. In the first half of the s, Belkin became interested in music, dance and theatre. In he designed the set for Los dos hermanos by Felipe Ljeda. His engraving work is not very well known but it has been exhibited and has received awards. In he formed the Grupo de Interioristas along with Francisco Icaza, which was concerned with rhfino Cold War and commercialism with the widespread use of plastic.
The group focused on creating monochromatic images which became their trademark. The idea the museum was that Latin American artists were better able to present the art and culture of the region more than capitalists from the United States. He published a catalog of lithographs called Two with poems by Jack Hirschman published by Zora Gallery in In he created the cover to the social science textbook for public schools in Mexico.
In UNAM published a book about the artist. There have been a number of posthumous retrospectives and other exhibitions of his work including the the exhibition at the Museo Mural Diego Rivera and was honored at an ojdda at the Museo Universitario del Chopo in Arnold Belkin has been referred to as the “Canadian son of Mexican muralism.
From the muralist generation, Belkin not only learned traditional painting techniques but also new ones, influenced by the work of Siqueiros. This included painting with air brushes and creating images using photographs projected on a wall as a base. His works are characterized in the use of intense, dark and often ochre colors in the entire forestakes depicting the human body as central along with geometric figures.
They often aim to tie the past with the present with themes such as war, peace, death, injustice and exile. He believed that art should serve as a teaching tool and to spark political discourse, often presenting humanity’s most controversial and painful experiences.
His work went through foresttales number of phases. His early paintings starting in the early s were focused on popular traditions in Mexico, especially those related to death such as Entierro in He was influenced by Rico Lebrun who visited Mexico in the s resulting in works which were monochromatic emphasizing the use of grays, sepias, ochres and black.
In the mids he experimented with abstract art with all forms being distorted. His work took on a strong ochre tone in the s when he began to work in oils and sculpture. From Wikipedia, the free encyclopedia. CalgaryAlbertaCanada. Mexico CityMexico. Image as metaphor ] in Spanish. Instituto Nacional de Bellas Artes.