卡洛斯·奥罗兹科·罗梅罗(Carlos Orozco Romero)高清作品《矿工》

作品名：矿工

原名：埃尔米诺

艺术家：卡洛斯·奥罗兹科·罗梅罗

年代：1929

风格：表现主义,社会现实主义

类型：风俗画

介质：油画

尺寸：80×80厘米

在矿工中，Carlos Orozco Romero寻求了一个正式实验的机会。土质调色板唤起了地下景观。矿工推着手推车的身影在构图中占主导地位，平衡了角形的几何形态：砖墙、烟囱、带拱门的矩形建筑物，以及远处隐约可见的锥形山。人工形态在背景中形成交替对角线的图案。罗梅罗对这个问题的处理违反了20世纪20年代及以后的修辞，其中经常强调工人的痛苦。在他永久移居墨西哥城后不久，被处决的这种石油的主题肯定是受到了他在那里遇到的纪念性作品的启发。然而，里维拉在教育部长普布利卡的劳动庭院的壁画中展示了矿工的殉难，而奥洛兹科·罗梅罗则创作了一幅充满活力的作品，其主要目的是将软化的人类形态与新兴工业景观的棱角并置。然而，有一个因素——工人头上的“光环”——表明罗梅罗并非不关心他的主题。

Title:The Miner

Original Title:El minero

artist:Carlos Orozco Romero

Date:1929

Style:Expressionism,Social Realism

Genre:genre painting

Media:oil

Dimensions:80 x 80 cm

”In The Miner, Carlos Orozco Romero sought an opportunity for formal experimentation. The earthy palette evokes a subterranean landscape. The figure of the miner pushing his wheelbarrow dominates the composition, balancing the angular geometric forms: a brick wall, smoke stack, a rectangular building with an arched doorway, and a conical mountain that looms in the distance. Manmade forms create a pattern of alternating diagonals in the background. Orozco Romero’s treatment of the subject defies the political rhetoric of the 1920s and later, in which the suffering of the worker was often emphasized. Executed shortly after he moved permanently to Mexico City, the subject of this oil was surely inspired by the monumental works he encountered there. But whereas Rivera, in his murals in the Patio of Labor at the Secretaría de Educación Pública, showcased the martyrdom of the miner, Orozco Romero created a dynamic composition whose main purpose was to juxtapose the softened human form with the angularity of the emerging industrial landscape. However, one element—the “halo” around the worker’s head—suggests that Orozco Romero was not unsympathetic to his subject.”