The Epic of American Civilization: The Departure of Quetzalcoatl (Panel 7)

José Clemente Orozco, Mexican, 1883 - 1949




Overall: 120 x 205 in. (304.8 x 520.7 cm)

Hood Museum of Art, Dartmouth College: Commissioned by the Trustees of Dartmouth College

© 2018 Artists Rights Society (ARS), New York / SOMAAP, Mexico City



North America, Mexico


20th century

Object Name




On view


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

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.

Western American Literature, Quarterly Journal of the Western Literature Association, Summer 1998, Logan: Western American Literature and Utah University, 1998, ill. cover

Video series "Myths of Mankind", The Netherlands: Netherlands Public Television (AVRO), 1997.

The Art of Latin America, California: Pomegranate Publications, 1991, calendar for 1992

The Art of Latin America, California: Pomegranate Publications, 1991, 15 X 13 inch color reproduction in print portfolio comprised of eight works by Latin American artists.

Orozco's Masterpiece, Dartmouth Alumni Magazine, Special Issue, Dartmouth's Gifts to the World, April 1994, Hanover, N.H.: Dartmouth College, 1994, ill. p. 44

Michael R. Taylor and Gerald Auten, In Residence: Contemporary Artists at Dartmouth, Hanover, New Hampshire: Trustees of Dartmouth College, 2013, ill. p. 2, fig. 2

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

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. 25, fig.47.

Jose Clemente Orozco: Pintura y verdad, Jalisco, Mexico: Instituto Cultural Cabanas, 2010, pp.166-181, ill. p.172.

Jacquelynn Baas, Orozco: Violent Visions in a Silent Space, Berkeley Review of Latin American Studies, Spring 2008: University of California, Berkeley: Berkeley Center for Latin American Studies, 73 pp., ill. p. 36-37.

Gary H. Gossen, editor, South And Meso-American Native Spirituality: From the Cult of the Feathered Serpent to the Theology of Liberation; World Spirituality: An Encyclopedic History of the Religious Quest,Volume 4, New York: The Crossroad Publishing Company, 1993, ill. p. 7

Frederick Hartt, Art: A History of Painting, Sculpture, Architecture (with contributions by Nan Rosenthal), 4th edition, New York: Harry N. Abrams, Inc., 1993, pp. 1011-1012, ill. p. 1011

Elizabeth L. Langhorne, Jackson Pollock: Kunst als Sinnsuche: Abstraktion, All-Over, Action Painting, Wallerstein: Hawel-Verlag, 2013, 468 pp., ill. p. 40.

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

Desmond Rochfort, Mexican Muralists: Orozco, Rivera, Siqueiros, Singapore: Laurence King Publishing, 1993, pp.99-119, ill. p. 104

Carlos Fuentes, The Buried Mirror: Reflections on Spain and the New World, Boston, New York, London: Houghton Mifflin Company, 1992, ill. p. 314.

C. L. R. James, Mariners, Renegades & Castaways: The Story of Herman Melville and the World We Live In, Hanover: University Press of New England, 2001, ill. cover.

Anthony W. Lee, Painting on the Left: Diego Rivera, radical politics, and San Francisco's public murals, Berkeley: University of California Press, 1999, ill. p 178, fig. 6.8


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

This record was created from historic documentation and may not have been reviewed by a curator; it may be inaccurate or incomplete.

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