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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Untitled by Donald Richard Sexauer, Image 1.

    Donald Richard Sexauer

    Untitled, 1981

    Etching on paper

    8.5 x 5.375 in (21.59 x 13.65 cm)

  2. Paul by Harvey Breverman, Image 1.

    Harvey Breverman

    Paul, 1980

    Lithograph on paper

    25.875 x 19.875 in (65.72 x 50.48 cm)

  3. Project I by Garo Zareh Antreasian, Image 1.

    Garo Zareh Antreasian

    Project I, 1977

    Lithograph on paper

    19.625 x 25.625 in (49.85 x 65.09 cm)

  4. Comstock #2: Miner by Jim McCormick, Image 1.

    Jim McCormick

    Comstock #2: Miner, 1975

    Lithograph on paper

    15.1875 x 12 in (38.58 x 30.48 cm)

  5. Dante, I Had Not Known That Death Had Undone So Many by Tom Phillips, Image 1.

    Tom Phillips

    Dante, I Had Not Known That Death Had Undone So Many, c. 1975

    Etching on paper

    25.5 x 19.5 in (64.77 x 49.53 cm)

  6. Dante, I Had Not Known That Death Had Undone So Many by Tom Phillips, Image 1.

    Tom Phillips

    Dante, I Had Not Known That Death Had Undone So Many, c. 1975

    Etching on paper

    25.5 x 19.5 in (64.77 x 49.53 cm)

  7. Turn-About by Rudy O. Pozzatti, Image 1.

    Rudy O. Pozzatti

    Turn-About, 1972

    Lithograph on paper

    30 x 22.125 in (76.2 x 56.2 cm)

  8. Leonard Baskin

    Untitled (Portrait), 1971

    Etching on paper

    3 x 4.25 in (7.62 x 10.8 cm)

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About the artist

José Clemente Orozco

Mexican

1883-1949

Alongside Diego Rivera and David Alfaro Siqueiros, José Clemente Orozco was one of the major muralists of the Mexican Revolution. In spite of losing his left hand and sight in one eye, Orozco persisted in his artistic career, though not without a biting sense of humor and critical eye. Like Rivera and Siqueiros, Orozco studied at the San Carlos Academy for Fine Arts in Mexico City, and painted everyday subjects in a realist style. He studied with Gerardo Murillo, a radical who encouraged his students to reject European influences and embrace Mexican traditions. Bolstered by this, Orozco became increasingly involved with social and political activism through his art. He made easel paintings and caricatures for a radical paper, but his public works would become his greatest legacy—grand murals throughout North America, depicting allegorical scenes of history, uprising, industry, and suffering.