The Epic of American Civilization: Modern Industrial Man (central panel, 2 of 3, Panel 20)

Inscriptions

Signed, east wall (Panel 11): J. C. Orozco / Febrero 13, 1934

Course History

ARTH 63.01/LACS 48.01, Mexican Muralism, Mary Coffey, Fall 2022

ARTH 63.01/LACS 48.01, Mexican Muralism, Mary Coffey, Fall 2022

ARTH 63.01/LACS 48.01, Mexican Muralism, Mary Coffey, Fall 2022

ARTH 63.01/LACS 48.01, Mexican Muralism, Mary Coffey, Fall 2022

ARTH 63.01/LACS 48.01, Mexican Muralism, Mary Coffey, Fall 2022

GEOG 31.01, Postcolonial Geographies, Erin Collins, Fall 2022

WRIT 2.06, Composition and Research I, Doug Moody, Fall 2022

Writing Program 5.08, Reviewing Ourselves: Critical Writing and Personal Values, Bill Craig, Winter 2023

Latino Studies 37.01, Migrant Lives and Labor, Doug Moody, Spring 2023

Geography 31.01, Postcolonial Geographies, Erin Collins, Fall 2023

Exhibition History

Public Art, Reserve Corridor, Baker-Berry Library, Dartmouth College, Hanover, New Hampshire, 1934.

Publication History

series Mexican Art Abroad, Mexico: Grupo Azabache, September 1994.

The Past and Future of Mexican Democracy and Development, The Montgomery Endowment, POSTER & BROCHURE for panel discussion 13 Carpenter Hall, May 24, 1995

Ramyar Rossoukh (Class of 1996), Latino Resource Guide, Pegasus Press, 1994

Desmond Rochfort, Mexican Muralists: Orozco, Rivera, Siqueiros, Singapore: Laurence King Publishing, 1993, pp.99-119, ill. p. 102

Master Works of Mexican Art in the World, Mexican Ministry of Foreign Affairs, Institute Matias Romero for Diplomatic Studies, 1993

Celeste d'Elliott, Journal of Managed Care Pharmacy, The Epic of American Civilization-Modern Industrial Man (1932-1934)-Jose Clemente Orozco, vol. 6, no. 3, Alexandria, VA: Academy of Managed Care Pharmacy, May/June, 2000, p. 199, cover ill.

Philip D. Leighton, and David C. Weber, Planning Academic and Research Library Buildings, 3rd ed., Chicago: American Library Association, 1999, 887 p.

Editorial Clio, Orozco segun Orozco, (Video-in Spanish), Delagacion Coyoacan, Mexico: Editorial Clio, 1998, approx. 43 minutes.

Marjorie L. Harth, Jose Clemente Orozco: Prometheus, Pomona, California: Pomona College Museum of Art, 2001, pp. 39-45, ill. p. 44-45, fig. 28.

Nichola Tucker, The Epic of American Civilization as Performative Epic: Student Viewers as Heroes and the Re-Enactment of History, The Collegiate Journal of Art, Spring 2008, Volume IV, 2008, pp. 97-110, ill. p. 98, fig. 1.

Jose Clemente Orozco: Pintura y verdad, Jalisco, Mexico: Instituto Cultural Cabanas, 2010, pp.166-181, ill. p.180.

Mary K. Coffey, Sharon Lorenzo, Lisa Mintz Messinger, Stephen Polcari, Men of Fire, Jose Clemente Orozco and Jackson Pollock, Hanover: Trustees of Dartmouth College, 2012, ill. p. 53; p. 28, fig.54.

Warren Carter, ed., Art after Empire: From Colonialism to Globalisation, Manchester: Manchester University Press in association with the Open University, 2018, pp. 84-89, ill. p. 88, fig. 2.25.

Mary K. Coffey, "Feeling Brown or Acting White? Spectacles of Racialized Performance and Pain in José Clemente Orozco's U.S.-based Prints," American Art, vol.37, no.2, Summer 2023, Chicago, IL: University of Chicago Press in association with the Smithsonian American Art Museum, pp. 2-27, ill. p. 7, fig. 2.

Provenance

Commissioned by the Trustees of Dartmouth College, Hanover, New Hampshire, 1932.

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