The Epic of American Civilization: Anglo-America (Panel 13)

José Clemente Orozco, Mexican, 1883 - 1949




Overall: 120 × 103 in. (304.8 × 261.6 cm)

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



North America, Mexico


20th century

Object Name




On view


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

Course History

Manton Foundation Annual Orozco Lecture: Jose Clemente Orozco and the Epic of ‘Greater America‘, Spring 2019

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.

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. 87, fig. 2.24.

Susan J. Boutwell, "Orozco Murals One of 13 New National Historic Landmarks" in The Dartmouth Now, 2013.

Paul Bohannan, We, the Alien: An Introduction to Cultural Anthropology, Prospect Heights, Illinois: Waveland Press, Inc.,1992, ill. p. 209

Patricia Harris, Art of the State of New Hampshire, New York: Harry N. Abrams, 2000, 96 p., ill.

Patricia Harris y David Lyon, Resplandeciente: "Epopeya de la civilizacion americana", de Orozco, Americas, Volumen 42, Numero 1, 1990, ill. p.59

Michael R. Taylor and Gerald Auten, In Residence: Contemporary Artists at Dartmouth, Hanover, New Hampshire: Trustees of Dartmouth College, 2013, ill. p. 14, fig. 21

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.26, fig. 50.

Mary Cooper, New England as America: Jose Clemente Orozco's Anglo-America, The Collegiate Journal of Art, Spring 2008, Volume IV, 2008, pp. 82-96, ill. p. 83.

Lizzetta LeFalle-Collins and Shifra M. Goldman, In the Spirit of Resistance: African-American Modernists and the Mexican Muralist School, New York: The American Federation of Arts, 1996, ill. p. 103

Kathleen A. Foster, Thomas Hart Benton and the Indiana Murals, Bloomington: Indiana University Art Museum in association with Indiana University Press, 2000, 200 pp., ill. p. 152.

Jose Clemente Orozco: Pintura y verdad, Jalisco, Mexico: Instituto Cultural Cabanas, 2010, pp.166-181, ill. p.175.

Jane Benson Ackerman, The Hood Museum of Art: Ten Years of Making Art at Home in the Upper Valley, Upper Valley Magazine, November/December 1995, Volume 9, No. 6, Van Etten, Inc., 1995, pp. 22-29, ill. p. 28

James Diego Vigil, From Indians to Chicanos: The dynamics of Mexican-American Culture, 2nd edition, Prospect Heights: Waveland Press, Inc., 1998, ill. p. 128

Esther L. Levine and Constance M. Montross, Vistas y voces latinas, 3rd. ed., Upper Saddle River, New Jersey: Prentice-Hall, 2001, 212 pp., ill. p. 45.

Elizabeth L. Langhorne, Jackson Pollock: Kunst als Sinnsuche: Abstraktion, All-Over, Action Painting, Wallerstein: Hawel-Verlag, 2013, 468 pp., ill. p. 41.

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. 106

Dartmouth Remembered, Bequests & Trusts, Dartmouth College

Constance M. Montross, Esther L. Levine, Vistas: Voices del Mundo Hispanico, 2nd edition, Englewood Cliffs: Prentice Hall, Inc., ill. p. 1

Carlos Fuentes, The Buried Mirror: Reflections on Spain and the New World, Boston, New York, London: Houghton Mifflin Company, 1992, ill. p. 348.

Barbara Haskell, Vida Americana, Mexican Muralist Remake American Art, 1925-1945, New York: Whitney Museum of American Art, 2020, ill. pp. 36-37, fig. 17.


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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