He immediately saw a mural ignored by North American artists Philip Gaston and Ruven Cadish, seven years ago, Luis Lapras, Mich that was ignored by North American artists Philip Gaston and Ruven Cadish, seven years ago. I decided to save it.
“It was the size, beauty, and history that attacked me,” he said about a mural titled “Fighting Terrorism.” This is a kaleidoscope of persecution and resistance created from 1934 to 1935, when the artist was in his 20s.
Pink rocks in Michuakan, the wall of the colonial palace in the center of Morelia, the capital of Morelia, a surgre of a broken body, a rinnissance influenced, an ominous hooded person, and a cruel tool collapsed. It faded. There was no whole section of the work. Patio was used to store chairs.
“I was very surprised,” said Laplace, who was working on Morelia's project at the time.
On Friday, the 1,000 -square -foot murals were newly announced in Mexico after recreating the lost section and returning their original vitality for six months. It has been appointed at the moment when Mexico and the United States are nervous about the sudden tariffs imposed by President Trump.
Like parents and contractors, this initiative involved Guston Foundation, which paid about $ 150,000 to the project. Some Mexican cultural institutions. Laplace said that there are many diplomatic Grand, a local large Grand. He joked by Morelia, saying, “I've never seen many people who are interested in a single mural.”
Gaston (the name of his birth, the name of his birth) and Cadish are from the museum to draw Fresco by the recommendation of the famous Mexican mural David Alpha Skelos, which he met in Los Angeles in the early 1930s. I was entrusted. I was working there. They are one of a few American mural painters produced in Mexico in the 1930s. The Brooklyn artist Grace Greenwood's murals cover the walls of another area of the Morelia Museum.
In the fall of 1934, Americans drove about 1,700 miles from Los Angeles to Moreria by beat -up cars, and for six months, we worked hard with the help of a friend and future art critic, Julle Lung Snar. 。 After the work was announced in early 1935, Time Magazine explained about the black -covered public servant and farmers with a straw hat staring at the murals in the “Open Wonders”.
But the mystery did not last long. By the mid -1940s, the murals agree that the museum hid behind a huge canvas screen, as the opposite cross and the murals with naked bodies were considered very aggressive to clergy. , Musem's director James Reyes Monroy said. Eugenio Mercadolópez, his predecessor, said that he was said to have hurt the murals in some way, and that the canvas was intended to protect it.
In exchange for hiding the murals, the church gave the museum a 18th -century oil painting known as the “transfer of a Dominican monastery to a new monastery”.
Reyes said that the mural was hidden and hidden until 1973 was found during patio repair. In the next 50 years, there was a sporadic effort to fix the work, but they were overwhelmed by the strong sun and the merciless humidity.
“It was covered for a long time,” said Rees. “People forgot it honestly.”
It was not the only Morelian who overlooked the mural. Ellen G. Landau, an art historian and an author of the book on the influence of Mexico in the United States, believes that even the world of art, Gaston and Cadish believes that she has echoed through their career. He said he had reduced its importance.
Randau said Mexico gave artists freedom to explore their prejudice. This is in contrast to the prescription of the US Working Pedes, and both artists have created murals.
“When WPA wanted a post office mural, they wanted a specific topic,” said Sally Radic, the executive director of Guston Foundation. In Mexico, she said, “It was very universal just because they did what they wanted.”
Along with his freedom, Gaston and Cadish have created a work that intersects with the fear of the heresy hearing of Crux Clan and Gestapo. The murals include a swing on a ladder, three hoods, and a scaffold on the torture scene. It is an image that recurs in Gaston's subsequent works. On the left is a manga -like depiction that Landau is a trendy Jewish massacre of a Jewish, a 15th -century woodcut.
The repression in murals was historically and global, and at the same time, Lando and Radic said. Gaston and Caddish experienced the fear of the right wing in 1933 when a member of the so -called red team at the Los Angeles Police Station destroyed a portable mural produced for the communist John Reed Club. According to Landau's essay, Cadish's family's apartment was looted a few years ago by the police, and he witnessed the cross on a Jewish house.
For the former museum's director, Mercado, murals have an urgent message to Mich that is a blue and beautiful state suffering from brutal drug -related violence.
“It's painful,” he said. “It is a call to the local community that we cannot be indifferent to suffering.”
RADIC said that the resonance of the murals began to save it as a “pet project.” She and Laplace will navigate the Mexican bureaucracy before Alejandro Ramirez, a Morelia resident and highest executive officer of the movie theater chain chinepolis, to find the “correct door to knock -on”. Laplace said that he spent many years.
Before the restoration began, the engineer identified the cause of the humidity that the mural disappeared and collapsed using ground -penetrating radar technology. They moved the downspouts, which caused the wet, and dried them using infrared lights and fans.
“The humidity is like a frescos disease,” said David Obied Zimenes, a mural at the Mexican Art Literature Institute, a member of the four teams who had just finished restoring the work. 。 When the team started working, Fresco added, “I was in a terrible state.”
From September, Obiede and his team have stabilized the surface with a sealant, restoring the blank area with a mixture of slike driving and marble sand. They used photos, traced the outline of the painting, and reproduced the missing sections. They drew these with a vertical brush stroke. This is a technology called Rigatino used to restore fresco, so that people who are looking at the work can distinguish new paint from the original.
After seeing the murals that were recovered for the first time this week, the transformation was “beautiful.” When I talked from Moreria on the phone on Thursday, she said that a greater liveliness has strengthened the feeling that the huge person in the work has gone to you and that they have done a great job.
Laplace, an architect who has not yet seen a restored fresco, predicts that restoration will restore his interest in work, between Gaston and Cadish fans.
“Now we have created consciousness, so we take care of it,” he said. “I know they have valuable things.”
