In 1930, the Mexican painter José Clemente Orozco finished his mural Prometheus at Pomona College in Southern California. Orozco had by then emerged as one of 20th-century art’s most enthusiastic supporters of political revolution—as well as one of its fiercest critics. So it is no surprise that the Greek hero Orozco depicted likewise embodies contradictions. In the ancient myth, Prometheus wraps… return to article
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