Gods of the Modern World

The Epic of American Civilization mural by José Clemente Orozco, is a vast composition which makes it hard to analyze the entirety of it at one time. Orozco uses a fresco technique, painting panel by panel in order to properly lay the pigments on freshly applied plaster. The moisture of the plaster retains color for centuries to follow, making Orozco’s work a lasting commentary of his day. He uses lines carved into the wall to separate the dry part of the panel from the wet section, so that there is no confusion on what needs to be painted that day and what he will work on next. The lines and differences between each panel is obvious, and the panels aren’t meant to blend together like other types of mural work. Each one has a specific message even though some are related. Orozco uses clear lines when he wants to mark something new in his epic.

Small fragments of each panel stayed with me as our class toured the room, however, I was especially drawn to one panel in particular. I could not avert my eyes from “Gods of the Modern World”, it was captivating and made me start to think. The subject matter seems to be a critique on modern academia as well as the scholars whom inhabit the field. The title insinuates that Orozco thinks the leaders of colleges and the graduates of institutions are viewed as gods of the new and intellectual world. If one was to only see the title, and nothing else, they could assume that Orozco is in support of the intellectuals and deems them as important and influential as gods. On the other hand, if one sees this panel their perspective would shift dramatically. In “Gods of the Modern World” there are 7 “Gods” all dressed in robes which bear academic regalia, normally seen at graduation, and cap with tassels. The catch is, they are all skeletons. Their stark white bones and menacing faces give off a powerful yet dark nature about what Orozco thinks of the roles they play in society. Although the figures are the undeniably main focus of the panel there are important parts in the foreground and the background. The foreground is littered with books that seem charred and black. This stood out to me as an unusual depiction of books that were not being read, but there for the purpose of laying and standing on.

The colors also play a part in the interpretation of the wall. They are rich, yet muted in some sections. The lower half of the panel is made up of mostly black, white, and grey tones. There are small containers of skeleton babies with graduation caps, possibly symbolic of lost knowledge. There is one fetus that is held high seems meek and powerless even though it is depicted as already an academic.  All the figures are all comprised of black and white bones, eerily sitting on a bed of books. The bottom half of the mural starkly contrasts with the top half which has depictions of flames and a raging fire in bright red hues. The flames serve as a backdrop for the black and grey figures, making them a focal point. The figures are unaware of the fire raging behind them and are all focused ahead, seemingly out of touch with the present. Pure chaos encircles them, yet they stand unwavering and unaffected. The way that they stand with their backs to the flames is representative of their distance and separation from everyone else. They live in an ideal world that doesn’t care about anyone that is not in their exclusive community.

The center of the piece is the most intriguing part; a skeleton lays down with its legs spread while another one reaches in-between them and pulls out a baby. This newborn is a skeleton as well, wearing the same cap and tassel as the others. I contend that the birth of the dead by the dead is emphasizing that the cyclical nature of schooling and teaching is as good as dead to Orozco. The skeletons imply that the structure is outdated, wrong, or maybe one can even go as far as to call it totally corrupted. There is madness and fire going on behind them and they are still continuing with their dead books and dying methods. The overall mood is troubling and cynical. Orozco seems to be in opposition to the scholars themselves and is implying that something needs to change. The American educational system is attacked by Orozco as he warns against the dangers of worshiping dead teachings and ideologies.

This panel is near the end of the epic. It stands in the middle of “Hispano-America” and “Symbols of Nationalism”. These panels are both viewed as modern in respect to the mural as a whole. They stand opposite to his depictions of natives that once occupied the territory. Evolution and westernization has not created living beings in Orzo’s mind, but rather dead and archaic ways of civilization

“Gods of the Modern World” Dartmouth College

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