Although the first thing that comes to mind when thinking about the work of RUFINO TAMAYO It is his easel painting, the Oaxaca artist also dominated the mural painting. Although his name does not appear frequently next to the triad that monopolized the Mexican muralism Because the main walls of the capital were denied by their marked differences with the pictorial style and the official discourse of Rivera, Siqueiros and Orozco, Tamayo reinvented national art through the large format.
Although it was the official current of national art after the revolution, a Young Tamayo He decided to remove his painting from political claim and the narrative intention of the muralists to synthesize national history in his works.
However, in the 50s, Tamayo became an artist as recognized for his murals as for his work on a smaller scale. Thanks to its poetic expression, the chromatic range and the inspiration it obtained from popular art and the daily objects of modern Mexico, its name was requested to create murals in Houston, Paris or New Yorkin addition to those made in enclosures such as the Palace of Fine Arts or the Museum of Anthropology.
These are the most important and little -known murals that Rufino Tamayo made during his artistic production in Mexico:
Revolution (1938)
One of the Rufino Tamayo first murals It was held at the National Museum of Cultures in the Historic Center of Mexico City. Although from the beginning of his career the author of 'Watermelon' marked distance between his artistic production and politics, Tamayo decided to inspire himself in 'The proletarian trinity' of José Clemente Orozco for his mural 'Revolution'.