"Massacre at the Templo Mayor.". The inscription proclaimed the atrocity: unarmed, defenseless Indians engaged in the esthetic activity of a dance had been massacred by ruthless Conquistadors led by the notoriously cruel Pedro de Alvarado. Raquel Tibol. I was looking for something that would be permanent, where the changes and corrections would be nearly impossible. That in itself is quite a job, Figure VII. Charlot, Jean, 1921a. J'ai voulu, non une rÃ©union d'hommes, mais quelque chose comme une locomotive en pleine vitesse. 40. References to the interviews in Charlot 1970-1971 will be "Interview" followed by the date. La Fresque: sa technique, ses applications. 31. There was also the diagonal of the staircase. Charlot 1922a. I used to go every weekend to the Louvre and soak in the Old Masters. I will discuss the former below. At lunch before the interview, MÃ©rida stated emphatically that Charlot, more than any other, was the real intellectual of the movement and the one who knew how to put a painting on a wall. I knew that if I used one single point of view--if I sacrificed any of those three positions--people would come in by accident, stand in the wrong place, look at the picture in the wrong way, and decide I was no good. Charlot, Jean, 1920-1924. Le sable (sable de mine) a Ã©tÃ© passÃ© au tamis, la partie grosse Ã©tant employÃ©e pour cette couche prÃ©liminaire, et la partie fine rÃ©servÃ©e pour la couche superficielle. : Apocalypse d'Amiens). The spectator, satiated by a display of archaeological knowledge, would not look further. Now that corner or the compressed rectangle ANOD even has the shape of a squatting Indian seen from the side, Figure VIIIb. The shape given to me to paint was not a rectangle, but distinctly different, Figure II. Whatever would be inside the tipped rectangle NBCO would slide into the upright one. An important decision was to paint the mural in fresco. The wheels of feathers, for example, on the heads of the people are copied directly from those paintings in the Academy. El Primer Fresco de Jean Charlot: La Masacre en el Templo Mayor [Jean Charlot's First Fresco:The Massacre in the Main Temple]. The Massacre is also a high point from which one can look forward to Charlot's prolific future career, in which his technical and compositional mastery would continue to express his deep admiration and sympathy for the culturally creative but socially oppressed peoples of other countries. It was evident now that in this mural the left part would be devoted to the Indian and the right to the white man. Honolulu: University Press of Hawaii. From 1926 to 1928, he spent time at Chichen Itza, helping to excavate, trace and copy bas-reliefs and painted surfaces from their newly revealed ancient Mayan temples. Charlot, Jean, 1925a. Tourists see those people squatting on the ground and think they are doing nothing there. We People Here: Nahuatl Accounts of the Conquest of Mexico, Repertorium Columbianum, Volume 1. He explained the application of this principle in his first mural (Interview, June 12, 1971): Well, [the costuming] isn't exactly a fantasy. 4. The actual eating up of that rectangle on the left suggests a kind of resistancy and a kind of absorption of one part by the other, which is a movement. Interview with John Charlot, January 28. Antiguo Colegio de San Ildefonso (formerly Escuela Nacional Preparatoria), Universidad Nacional Autónoma de México, Mexico City. Charlot, Jean, 1972. Rosales, SofÃa, 1999. A Ã©tÃ© passÃ© Ã la gouache blanche tout le tracÃ© gÃ©omÃ©trique de la composition, celui-ci devant servir de point de repÃ¨re pour le travail des raccords. The minds of painters work mysteriously. Il faut se servir de marques reconnues bonnes". 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