39

José Clemente Orozco

(1883-1949, Mexican)

"The Hanged Men" (Los Ahorcados), from "The American Scene" portfolio, circa 1933-34

Lithograph on wove paper, watermark Rives
Edition: 46/300
Signed in pencil in the lower margin: J.C.Orozco; numbered in pencil, possibly in another hand, in the lower margin, at left; George C. Miller, New York, NY, prntr.; Contemporary Print Group, New York, NY, pub.
Image: 12.625" H x 8.875" W; Sheet: 15.75" H x 11.375" W

  • Literature:
    Hopkins 23
  • Notes:
    Another impression of this lithograph is owned by the Metropolitan Museum of Art in New York City. Their cataloguing includes the following comments, "Orozco created this print in New York in response to a request from the National Association for the Advancement of Colored People (NAACP)—a civil rights organization—to contribute to its anti-lynching campaign. The subject resonates with Orozco's personal beliefs, which he expressed in his autobiography, published in 1945: 'the whole world is shaken and bloodied by racial hate.' Adding to the graphic brutality of the lynching, the figures appear to be engulfed by flames emerging from the bottom of the image.'"

    José Clemente Orozco stands as one of the central figures of the Mexican Mural Renaissance, a movement he helped shape alongside Diego Rivera and David Alfaro Siqueiros. Born in 1883 in Zapotlán el Grande, Jalisco, he developed an early interest in art after moving to Mexico City, where the engravings of José Guadalupe Posada left a lasting impression. His formal training at the Academy of San Carlos refined a visual language that would become synonymous with his name: monumental, expressionistic, and unflinching in its examination of human conflict. Orozco's art delved into human suffering and the political struggles of peasants and workers, reflecting his deep commitment to social causes.

    A life-altering accident at age twenty-one cost him his left hand but did nothing to diminish his ambition. Over a career that spanned Mexico and the United States, including significant periods in New York and Claremont, California, Orozco created some of the most influential fresco cycles of the twentieth century. His murals for the National Preparatory School in Mexico City and Pomona College remain defining achievements, marked by their dramatic compositions and profound moral urgency. Unlike many contemporaries who celebrated the heroism of the Mexican Revolution, Orozco confronted its human cost, offering a sobering and deeply humanistic counterpoint.
  • Condition: Overall good appearance. Full margins with deckled edges. A pinpoint-sized pale foxmark in the lower margin, at left. Two very soft, unobtrusive handling creases in the upper margin corners. The sheet is loose, not matted.

    Unframed


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January 13, 2026 12:00 PM PST
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