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18101_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, explore the A Militia Fighting for the Conservative Cause about the 1. The War of Independence (1810–21). | = A Militia Fighting for the Conservative Cause For the most part, the mural is about the liberal traditions of Mexico and Oaxaca, however, the image below illustrates a Oaxacan militia on the Royalist side of the War of Independence. It was organized by Bishop Antonio Bergosa y Jordán, of Antequera, a leader in the Inquisition in Mexico. It was derisively called De la Mermelada. Apparently, at the time of the War of Independence, Mexicans made marmalade, matching the purple uniforms worn by the militia soldiers in the picture below. | [
"Oaxaca",
"Inquisition in Mexico",
"Mexica",
"War of Independence",
"Antonio Bergosa y Jordán",
"Independence",
"Royalist",
"Antequera",
"Conservative",
"mural"
] |
|
18101_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, explore the A Militia Fighting for the Conservative Cause about the 1. The War of Independence (1810–21). | = A Militia Fighting for the Conservative Cause For the most part, the mural is about the liberal traditions of Mexico and Oaxaca, however, the image below illustrates a Oaxacan militia on the Royalist side of the War of Independence. It was organized by Bishop Antonio Bergosa y Jordán, of Antequera, a leader in the Inquisition in Mexico. It was derisively called De la Mermelada. Apparently, at the time of the War of Independence, Mexicans made marmalade, matching the purple uniforms worn by the militia soldiers in the picture below. | [
"Oaxaca",
"Inquisition in Mexico",
"Mexica",
"War of Independence",
"Antonio Bergosa y Jordán",
"Independence",
"Royalist",
"Antequera",
"Conservative",
"mural"
] |
|
18102_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, explain the The War of Independence in Oaxaca about the 1. The War of Independence (1810–21). | The War of Independence in Oaxaca When the War of Independence opened 18,000 people lived in Oaxaca. They were mostly mestizos (of both Indigenous and European descent). Initially, the local government was staunchly loyal to the Spanish Crown. But there was some support for Independence and it grew.
The image below is from the top right corner of the panel. Two elements to note are José María Morelos y Pavón and below him, the Virgin of Guadeloupe flying from the standard. | [
"mestizo",
"Oaxaca",
"Virgin of Guadeloupe",
"staunchly loyal to the Spanish Crown",
"José María Morelos",
"War of Independence",
"Independence",
"Morelos",
"José María Morelos y Pavón"
] |
|
18102_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, explain the The War of Independence in Oaxaca about the 1. The War of Independence (1810–21). | The War of Independence in Oaxaca When the War of Independence opened 18,000 people lived in Oaxaca. They were mostly mestizos (of both Indigenous and European descent). Initially, the local government was staunchly loyal to the Spanish Crown. But there was some support for Independence and it grew.
The image below is from the top right corner of the panel. Two elements to note are José María Morelos y Pavón and below him, the Virgin of Guadeloupe flying from the standard. | [
"mestizo",
"Oaxaca",
"Virgin of Guadeloupe",
"staunchly loyal to the Spanish Crown",
"José María Morelos",
"War of Independence",
"Independence",
"Morelos",
"José María Morelos y Pavón"
] |
|
18103_T | Oaxaca en la historia y en el mito | Explore the The Absence of Miguel Hidalgo (1753-1811) in the Mural about the 1. The War of Independence (1810–21) of the Independence, Reform, Revolution Panel in this artwork, Oaxaca en la historia y en el mito. | = The Absence of Miguel Hidalgo (1753-1811) in the Mural The initiator of the War of Independence, Miguel Gregorio Antonio Ignacio Hidalgo y Costilla y Gallaga Mandarte Villaseñor does not appear in the mural. Most likely because he was not from Oaxaca and he never brought the war to Oaxaca, where his ideas were strongly opposed by Bishop Antonio Bergosa y Jordán. Hidalgo did enjoy some success initially and some 90,000 poor people followed him on his advance to the Battle of Monte de las Cruces, until they retreated.
In addition, Hidalgo was the leader for only some eight months of an 11-year war. After the death of Hidalgo and Allende, José María Morelos along with Ignacio López Rayón, led the insurgents in the War of Independence. Morelos and insurgents pictured below captured Antequera in 1812.
Hidalgo is said to have started the War of Independence with his Grito (Cry of Dolores) on September 16, 1810. We do not know exactly what he said but it seems clear that he decried bad government and did not declare independence from Spain. | [
"the Battle of Monte de las Cruces",
"Oaxaca",
"José María Morelos",
"insurgents",
"independence",
"War of Independence",
"Antonio Bergosa y Jordán",
"Independence",
"opposed",
"Antequera",
"Ignacio López Rayón",
"Morelos",
"Allende",
"Battle of Monte de las Cruces",
"Mural",
"Cry of Dolores",
"Miguel Hidalgo",
"mural",
"Miguel Gregorio Antonio Ignacio Hidalgo y Costilla y Gallaga Mandarte Villaseñor"
] |
|
18103_NT | Oaxaca en la historia y en el mito | Explore the The Absence of Miguel Hidalgo (1753-1811) in the Mural about the 1. The War of Independence (1810–21) of the Independence, Reform, Revolution Panel in this artwork. | = The Absence of Miguel Hidalgo (1753-1811) in the Mural The initiator of the War of Independence, Miguel Gregorio Antonio Ignacio Hidalgo y Costilla y Gallaga Mandarte Villaseñor does not appear in the mural. Most likely because he was not from Oaxaca and he never brought the war to Oaxaca, where his ideas were strongly opposed by Bishop Antonio Bergosa y Jordán. Hidalgo did enjoy some success initially and some 90,000 poor people followed him on his advance to the Battle of Monte de las Cruces, until they retreated.
In addition, Hidalgo was the leader for only some eight months of an 11-year war. After the death of Hidalgo and Allende, José María Morelos along with Ignacio López Rayón, led the insurgents in the War of Independence. Morelos and insurgents pictured below captured Antequera in 1812.
Hidalgo is said to have started the War of Independence with his Grito (Cry of Dolores) on September 16, 1810. We do not know exactly what he said but it seems clear that he decried bad government and did not declare independence from Spain. | [
"the Battle of Monte de las Cruces",
"Oaxaca",
"José María Morelos",
"insurgents",
"independence",
"War of Independence",
"Antonio Bergosa y Jordán",
"Independence",
"opposed",
"Antequera",
"Ignacio López Rayón",
"Morelos",
"Allende",
"Battle of Monte de las Cruces",
"Mural",
"Cry of Dolores",
"Miguel Hidalgo",
"mural",
"Miguel Gregorio Antonio Ignacio Hidalgo y Costilla y Gallaga Mandarte Villaseñor"
] |
|
18104_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, discuss the The Virgin of Guadalupe at War about the 1. The War of Independence (1810–21). | = The Virgin of Guadalupe at War The legend is that as Hidalgo left his church to give his Grito he grabbed an image of the Virgin of Guadalupe and brandished it during his famous speech.
In the image above, the standard of the Virgin of Guadeloupe leads attacking insurgents in the pursuit of independence. José-Marie Morelos, credited the Virgin for his military victories. One of the insurgents, José Miguel Ramón Adaucto Fernández y Félix took the name of Guadalupe Victoria after a military victory at Oaxaca. (He was also Mexico's first President.) In the Mexican Revolution (1910–21), both sides flew the Virgin as they battled. In 1999, the Catholic Church officially proclaimed her the Patroness of the Americas, the Empress of Latin America, and the Protectress of Unborn Children. Whether or not the story of the Virgin of Guadalupe is a myth or a true story, she remains an important symbol of motherhood for Mexicans. | [
"Oaxaca",
"Virgin of Guadeloupe",
"Mexica",
"insurgents",
"independence",
"Catholic Church",
"Guadalupe Victoria",
"Morelos",
"Mexican Revolution",
"left"
] |
|
18104_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, discuss the The Virgin of Guadalupe at War about the 1. The War of Independence (1810–21). | = The Virgin of Guadalupe at War The legend is that as Hidalgo left his church to give his Grito he grabbed an image of the Virgin of Guadalupe and brandished it during his famous speech.
In the image above, the standard of the Virgin of Guadeloupe leads attacking insurgents in the pursuit of independence. José-Marie Morelos, credited the Virgin for his military victories. One of the insurgents, José Miguel Ramón Adaucto Fernández y Félix took the name of Guadalupe Victoria after a military victory at Oaxaca. (He was also Mexico's first President.) In the Mexican Revolution (1910–21), both sides flew the Virgin as they battled. In 1999, the Catholic Church officially proclaimed her the Patroness of the Americas, the Empress of Latin America, and the Protectress of Unborn Children. Whether or not the story of the Virgin of Guadalupe is a myth or a true story, she remains an important symbol of motherhood for Mexicans. | [
"Oaxaca",
"Virgin of Guadeloupe",
"Mexica",
"insurgents",
"independence",
"Catholic Church",
"Guadalupe Victoria",
"Morelos",
"Mexican Revolution",
"left"
] |
|
18105_T | Oaxaca en la historia y en el mito | Regarding Oaxaca en la historia y en el mito, how does the Independence, Reform, Revolution Panel's 1. The War of Independence (1810–21) incorporate the The Prehispanic Origin of the Virgin of Guadalupe? | = The Prehispanic Origin of the Virgin of Guadalupe Some Mexicans still refer to the Virgin of Guadalupe as Tonantzin. Tonantzin was a prehispanic goddess worshiped where the Virgin of Guadalupe is said to have appeared and is now worshiped at Tepeyac. In that sense the prehispanic traditions and the Christian traditions have merged. | [
"Prehispanic",
"Tepeyac",
"Mexica",
"Tonantzin"
] |
|
18105_NT | Oaxaca en la historia y en el mito | Regarding this artwork, how does the Independence, Reform, Revolution Panel's 1. The War of Independence (1810–21) incorporate the The Prehispanic Origin of the Virgin of Guadalupe? | = The Prehispanic Origin of the Virgin of Guadalupe Some Mexicans still refer to the Virgin of Guadalupe as Tonantzin. Tonantzin was a prehispanic goddess worshiped where the Virgin of Guadalupe is said to have appeared and is now worshiped at Tepeyac. In that sense the prehispanic traditions and the Christian traditions have merged. | [
"Prehispanic",
"Tepeyac",
"Mexica",
"Tonantzin"
] |
|
18106_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, analyze the The role of priests in the War of Independence about the 1. The War of Independence (1810–21). | = The role of priests in the War of Independence One respected historian claims that 400 priests supported the War of Independence. The reason for priests leading the war is first of all because they were the leaders of the society at the time and secondly they personally, including Miguel Hidalgo, had suffered financially when the French (Bourbon) administration in Spain had imposed ruinous financial policies to pay for the war with England. Generally the War of Independence was supported by parish priests who were born in Mexico either Criollo people, generally with two Spanish parents like Hidalgo, or priest with mixed racial lineage, Mestizos like Morelos supported the war. On the other hand, the high level priest, born in Spain (Peninsulares or Gachupines) like Bishop of Antequera, Antonio Bergosa y Jordán opposed independence. | [
"Criollo people",
"independence",
"War of Independence",
"Antonio Bergosa y Jordán",
"Independence",
"opposed",
"Antequera",
"Peninsulares",
"Morelos",
"Mestizo",
"Miguel Hidalgo"
] |
|
18106_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, analyze the The role of priests in the War of Independence about the 1. The War of Independence (1810–21). | = The role of priests in the War of Independence One respected historian claims that 400 priests supported the War of Independence. The reason for priests leading the war is first of all because they were the leaders of the society at the time and secondly they personally, including Miguel Hidalgo, had suffered financially when the French (Bourbon) administration in Spain had imposed ruinous financial policies to pay for the war with England. Generally the War of Independence was supported by parish priests who were born in Mexico either Criollo people, generally with two Spanish parents like Hidalgo, or priest with mixed racial lineage, Mestizos like Morelos supported the war. On the other hand, the high level priest, born in Spain (Peninsulares or Gachupines) like Bishop of Antequera, Antonio Bergosa y Jordán opposed independence. | [
"Criollo people",
"independence",
"War of Independence",
"Antonio Bergosa y Jordán",
"Independence",
"opposed",
"Antequera",
"Peninsulares",
"Morelos",
"Mestizo",
"Miguel Hidalgo"
] |
|
18107_T | Oaxaca en la historia y en el mito | When looking at the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, how do you discuss its 1. The War of Independence (1810–21)'s José María Morelos Pérez y Pavón (1765-1815) and Democratic Ideas? | José María Morelos Pérez y Pavón (1765-1815) and Democratic Ideas Morelos wears a red bandana in two images in the mural. Some suggest that the bandana mitigated his migraines. While in Oaxaca, Morelos developed his thoughts about independence, justice and the future of Mexico. In the image below, he holds a copy of the Constitution of Apatzingán. (The official title as indicated in the mural is Decreto Constitucional para la Libertad de la América Mexicana.)The commemorative plaque, posted in the Zócalo of Oaxaca just south of the Palacio de Gobierno, proclaims that, Morelos sowed the seeds of Mexican democracy in Oaxaca during the War of Independence. | [
"Oaxaca",
"Palacio de Gobierno",
"Mexica",
"José María Morelos",
"Constitution of Apatzingán",
"independence",
"War of Independence",
"Independence",
"Mexican democracy",
"Morelos",
"mural"
] |
|
18107_NT | Oaxaca en la historia y en el mito | When looking at the Independence, Reform, Revolution Panel of this artwork, how do you discuss its 1. The War of Independence (1810–21)'s José María Morelos Pérez y Pavón (1765-1815) and Democratic Ideas? | José María Morelos Pérez y Pavón (1765-1815) and Democratic Ideas Morelos wears a red bandana in two images in the mural. Some suggest that the bandana mitigated his migraines. While in Oaxaca, Morelos developed his thoughts about independence, justice and the future of Mexico. In the image below, he holds a copy of the Constitution of Apatzingán. (The official title as indicated in the mural is Decreto Constitucional para la Libertad de la América Mexicana.)The commemorative plaque, posted in the Zócalo of Oaxaca just south of the Palacio de Gobierno, proclaims that, Morelos sowed the seeds of Mexican democracy in Oaxaca during the War of Independence. | [
"Oaxaca",
"Palacio de Gobierno",
"Mexica",
"José María Morelos",
"Constitution of Apatzingán",
"independence",
"War of Independence",
"Independence",
"Mexican democracy",
"Morelos",
"mural"
] |
|
18108_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, explore the Vicente Ramón Guerrero Saldaña (1782-1831) about the 1. The War of Independence (1810–21). | Vicente Ramón Guerrero Saldaña (1782-1831) The image below of Vicente Guerrero replicates one of the most famous paintings of him. However other images exist of Guerrero that are far less flattering. And one should not assume that the images by Arturo García Bustos, like other images of historical characters painted by Bustos, are true representation. However, the images used in the mural closely reflect popular depictions of this history maker and others.
Guerrero's father was Afro-Mexican and his mother indigenous, making Vicente Guerrero, Mexico's only afro-mestizo president. During the War of Independence, Guerrero became a military leader, and he was one of the few to escape execution during the war. After the war, in 1831, he was executed at Cuilápam de Guerrero, just 10 kilometers from Oaxaca where he had been tried. This happened, after he had been president of Mexico for only eight months.
Afro-Mexicans played an important role in the War of Independence. Below President Vicente Guerrero points out a proclamation abolishing slavery on September 16, 1829, one of his crowning achievements. Slavery formally ended in 1837 in Mexico.Note that in the image above that the tower behind Guerrero bears a strong resemblance to those of the Ex-monastery of Santiago in Cuilapan de Guerrero. | [
"mestizo",
"Afro-Mexicans",
"Arturo García Bustos",
"Cuilápam de Guerrero",
"Oaxaca",
"Afro-Mexican",
"Mexica",
"Ex-monastery of Santiago in Cuilapan de Guerrero",
"crown",
"Cuilapan de Guerrero",
"War of Independence",
"Independence",
"Slavery",
"role in the War of Independence",
"Vicente Guerrero",
"Vicente Ramón Guerrero Saldaña",
"mural",
"execution"
] |
|
18108_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, explore the Vicente Ramón Guerrero Saldaña (1782-1831) about the 1. The War of Independence (1810–21). | Vicente Ramón Guerrero Saldaña (1782-1831) The image below of Vicente Guerrero replicates one of the most famous paintings of him. However other images exist of Guerrero that are far less flattering. And one should not assume that the images by Arturo García Bustos, like other images of historical characters painted by Bustos, are true representation. However, the images used in the mural closely reflect popular depictions of this history maker and others.
Guerrero's father was Afro-Mexican and his mother indigenous, making Vicente Guerrero, Mexico's only afro-mestizo president. During the War of Independence, Guerrero became a military leader, and he was one of the few to escape execution during the war. After the war, in 1831, he was executed at Cuilápam de Guerrero, just 10 kilometers from Oaxaca where he had been tried. This happened, after he had been president of Mexico for only eight months.
Afro-Mexicans played an important role in the War of Independence. Below President Vicente Guerrero points out a proclamation abolishing slavery on September 16, 1829, one of his crowning achievements. Slavery formally ended in 1837 in Mexico.Note that in the image above that the tower behind Guerrero bears a strong resemblance to those of the Ex-monastery of Santiago in Cuilapan de Guerrero. | [
"mestizo",
"Afro-Mexicans",
"Arturo García Bustos",
"Cuilápam de Guerrero",
"Oaxaca",
"Afro-Mexican",
"Mexica",
"Ex-monastery of Santiago in Cuilapan de Guerrero",
"crown",
"Cuilapan de Guerrero",
"War of Independence",
"Independence",
"Slavery",
"role in the War of Independence",
"Vicente Guerrero",
"Vicente Ramón Guerrero Saldaña",
"mural",
"execution"
] |
|
18109_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, explain the Insurgents depicted on the mural about the 1. The War of Independence (1810–21). | Insurgents depicted on the mural In the bottom left corner of the middle panel, García Bustos placed, among other elements, insurgents associated with the War of Independence in Oaxaca. Many of the depictions of insurgents resemble images available on the internet so most insurgents can be identified. But not all are easy to identify. In cases of doubt, it is assumed that the images are of local heroes because the artist's stated goal is to depict people who frequented the Palacio de Gobierno. One publication claims that the images are "Matamoros, Allende, and Galena." But Allende and Galena, while they are important insurgents, they are not associated with the history of Oaxaca.
Those insurgents who battled locally are remembered in Oaxaca and other Mexican towns where streets bear their names and commemorate their roles in Mexico gaining independence. (It is said that at least 14,000 streets in Mexico are named after Miguel Hidalgo.) There is one image on the mural of the Royalists who defended the city against the insurgents and held the city longer than the 15 months during which the insurgents held it. We will look at it below. | [
"Oaxaca",
"Palacio de Gobierno",
"Mexica",
"insurgents",
"Matamoros",
"independence",
"War of Independence",
"Independence",
"Royalist",
"Allende",
"Galena",
"Miguel Hidalgo",
"mural",
"left"
] |
|
18109_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, explain the Insurgents depicted on the mural about the 1. The War of Independence (1810–21). | Insurgents depicted on the mural In the bottom left corner of the middle panel, García Bustos placed, among other elements, insurgents associated with the War of Independence in Oaxaca. Many of the depictions of insurgents resemble images available on the internet so most insurgents can be identified. But not all are easy to identify. In cases of doubt, it is assumed that the images are of local heroes because the artist's stated goal is to depict people who frequented the Palacio de Gobierno. One publication claims that the images are "Matamoros, Allende, and Galena." But Allende and Galena, while they are important insurgents, they are not associated with the history of Oaxaca.
Those insurgents who battled locally are remembered in Oaxaca and other Mexican towns where streets bear their names and commemorate their roles in Mexico gaining independence. (It is said that at least 14,000 streets in Mexico are named after Miguel Hidalgo.) There is one image on the mural of the Royalists who defended the city against the insurgents and held the city longer than the 15 months during which the insurgents held it. We will look at it below. | [
"Oaxaca",
"Palacio de Gobierno",
"Mexica",
"insurgents",
"Matamoros",
"independence",
"War of Independence",
"Independence",
"Royalist",
"Allende",
"Galena",
"Miguel Hidalgo",
"mural",
"left"
] |
|
18110_T | Oaxaca en la historia y en el mito | Explore the José María Armenta (1775-1810) and Miguel López de Lima (?- 1810) about the 1. The War of Independence (1810–21) of the Independence, Reform, Revolution Panel in this artwork, Oaxaca en la historia y en el mito. | = José María Armenta (1775-1810) and Miguel López de Lima (?- 1810) Two insurgents, apparently the two at the back wearing hats typical of mule drivers, are celebrated in Oaxaca in the street Armenta y López, located near the Palacio de Gobierno. José María Armenta was a mulero, (a mule skinner or mule driver) when Miguel Hidalgo gave him the rank of colonel and sent him to Antequera (Oaxaca) to foment rebellion. López took Miguel Armenta de Lima as his lieutenant. Their story illustrates some of the complexities and tragedy of one of the five civil wars fought in Oaxaca.
When they arrived in Antequera, locals were suspicious of the two men, but the two were able to convince Antequera authorities that they were selling firewood. One story is that they had learned that the mayor was a Creole and they assumed that he, like many other Creoles, including themselves, was a supporter of the rebellion. When the insurgents told the mayor their intentions to start a revolution, he threw them in jail.
After a trial, they were hung in the quarries of Jalatlaco. Their bodies were dismembered and strewn on the road to Etla as a warning to other potential insurgents that the colonial authorities who were in control of Antequera in 1811, meant business. After José Morelos captured the city in 1812, he ordered that the remains of insurgents who had been martyred, Miguel López de Lima, José María Armenta, Felipe Tinoco y José María Palacios, be exhumed. Subsequently, they were celebrated in the cathedral as heroes. | [
"Oaxaca",
"civil war",
"Palacio de Gobierno",
"insurgents",
"colonial",
"Antequera",
"Morelos",
"Miguel Hidalgo",
"José Morelos"
] |
|
18110_NT | Oaxaca en la historia y en el mito | Explore the José María Armenta (1775-1810) and Miguel López de Lima (?- 1810) about the 1. The War of Independence (1810–21) of the Independence, Reform, Revolution Panel in this artwork. | = José María Armenta (1775-1810) and Miguel López de Lima (?- 1810) Two insurgents, apparently the two at the back wearing hats typical of mule drivers, are celebrated in Oaxaca in the street Armenta y López, located near the Palacio de Gobierno. José María Armenta was a mulero, (a mule skinner or mule driver) when Miguel Hidalgo gave him the rank of colonel and sent him to Antequera (Oaxaca) to foment rebellion. López took Miguel Armenta de Lima as his lieutenant. Their story illustrates some of the complexities and tragedy of one of the five civil wars fought in Oaxaca.
When they arrived in Antequera, locals were suspicious of the two men, but the two were able to convince Antequera authorities that they were selling firewood. One story is that they had learned that the mayor was a Creole and they assumed that he, like many other Creoles, including themselves, was a supporter of the rebellion. When the insurgents told the mayor their intentions to start a revolution, he threw them in jail.
After a trial, they were hung in the quarries of Jalatlaco. Their bodies were dismembered and strewn on the road to Etla as a warning to other potential insurgents that the colonial authorities who were in control of Antequera in 1811, meant business. After José Morelos captured the city in 1812, he ordered that the remains of insurgents who had been martyred, Miguel López de Lima, José María Armenta, Felipe Tinoco y José María Palacios, be exhumed. Subsequently, they were celebrated in the cathedral as heroes. | [
"Oaxaca",
"civil war",
"Palacio de Gobierno",
"insurgents",
"colonial",
"Antequera",
"Morelos",
"Miguel Hidalgo",
"José Morelos"
] |
|
18111_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, discuss the Guadalupe Victoria (1786-1843) about the 1. The War of Independence (1810–21). | = Guadalupe Victoria (1786-1843) García Bustos tells us that he included Guadalupe Victoria in the mural. Keeping with his realism approach, and depicting a legend, the artist pictures Guadalupe Victoria, the first President of the United States of Mexico, throwing his sword to lead his men forward, as his legend accounts, in the taking of Oaxaca in 1812. As the first President of Mexico (1824–1829), he served his entire term, which did not happen until the presidency of Benito Juárez who became president for a full term in 1858. | [
"Oaxaca",
"Benito Juárez",
"taking of Oaxaca in 1812",
"President of Mexico",
"first President of the United States of Mexico",
"United States of Mexico",
"Guadalupe Victoria",
"mural"
] |
|
18111_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, discuss the Guadalupe Victoria (1786-1843) about the 1. The War of Independence (1810–21). | = Guadalupe Victoria (1786-1843) García Bustos tells us that he included Guadalupe Victoria in the mural. Keeping with his realism approach, and depicting a legend, the artist pictures Guadalupe Victoria, the first President of the United States of Mexico, throwing his sword to lead his men forward, as his legend accounts, in the taking of Oaxaca in 1812. As the first President of Mexico (1824–1829), he served his entire term, which did not happen until the presidency of Benito Juárez who became president for a full term in 1858. | [
"Oaxaca",
"Benito Juárez",
"taking of Oaxaca in 1812",
"President of Mexico",
"first President of the United States of Mexico",
"United States of Mexico",
"Guadalupe Victoria",
"mural"
] |
|
18112_T | Oaxaca en la historia y en el mito | Regarding Oaxaca en la historia y en el mito, how does the Independence, Reform, Revolution Panel's 1. The War of Independence (1810–21) incorporate the Vicente Guerrero (1781-1831) and the abolition of slavery? | = Vicente Guerrero (1781-1831) and the abolition of slavery President Vicente Ramón Guerrero Saldaña (1782-1831) stands, in the mural, beside the proclamation of the abolition of slavery in Mexico of 1829. Guerrero, with black and indigenous roots, was President of Mexico in an unstable period when Mexican conservatives and liberals were still vying for power. Guerrero was accused of treason, tried in Oaxaca City, and executed in what is now called Cuilápam de Guerrero, on February 14, 1831, some 13 kilometers from the Palacio de Gobierno in Oaxaca. | [
"Oaxaca City",
"Cuilápam de Guerrero",
"Oaxaca",
"President of Mexico",
"Palacio de Gobierno",
"Mexica",
"Vicente Guerrero",
"Vicente Ramón Guerrero Saldaña",
"mural"
] |
|
18112_NT | Oaxaca en la historia y en el mito | Regarding this artwork, how does the Independence, Reform, Revolution Panel's 1. The War of Independence (1810–21) incorporate the Vicente Guerrero (1781-1831) and the abolition of slavery? | = Vicente Guerrero (1781-1831) and the abolition of slavery President Vicente Ramón Guerrero Saldaña (1782-1831) stands, in the mural, beside the proclamation of the abolition of slavery in Mexico of 1829. Guerrero, with black and indigenous roots, was President of Mexico in an unstable period when Mexican conservatives and liberals were still vying for power. Guerrero was accused of treason, tried in Oaxaca City, and executed in what is now called Cuilápam de Guerrero, on February 14, 1831, some 13 kilometers from the Palacio de Gobierno in Oaxaca. | [
"Oaxaca City",
"Cuilápam de Guerrero",
"Oaxaca",
"President of Mexico",
"Palacio de Gobierno",
"Mexica",
"Vicente Guerrero",
"Vicente Ramón Guerrero Saldaña",
"mural"
] |
|
18113_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, analyze the Tinoco and Palacios about the 1. The War of Independence (1810–21). | = Tinoco and Palacios Felipe Tinoco and Catarino Palacio were martyrs in the War of Independence but do not appear on the mural. They are mentioned here to illustrate the strong opposition to independence that permeated Antequera, especially in the early stages of the War. In 1811, Tinoco and Palacio met with a group of priests in the Convent of the Conception and made preliminary plans for an insurrection. They were captured and held in a prison where the Panaderia Bamby is now located. The two young insurgents were shot by a firing squad, beheaded, dismembered and their heads were placed in metal cages on the edge of the city of Antequera. These gory details emphasize the risks that anyone took when they decided to support the War of Independence and illustrate the fear that authorities tried to sow in the minds of possible insurgents. | [
"firing squad",
"insurgents",
"independence",
"War of Independence",
"Independence",
"Antequera",
"mural"
] |
|
18113_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, analyze the Tinoco and Palacios about the 1. The War of Independence (1810–21). | = Tinoco and Palacios Felipe Tinoco and Catarino Palacio were martyrs in the War of Independence but do not appear on the mural. They are mentioned here to illustrate the strong opposition to independence that permeated Antequera, especially in the early stages of the War. In 1811, Tinoco and Palacio met with a group of priests in the Convent of the Conception and made preliminary plans for an insurrection. They were captured and held in a prison where the Panaderia Bamby is now located. The two young insurgents were shot by a firing squad, beheaded, dismembered and their heads were placed in metal cages on the edge of the city of Antequera. These gory details emphasize the risks that anyone took when they decided to support the War of Independence and illustrate the fear that authorities tried to sow in the minds of possible insurgents. | [
"firing squad",
"insurgents",
"independence",
"War of Independence",
"Independence",
"Antequera",
"mural"
] |
|
18114_T | Oaxaca en la historia y en el mito | When looking at the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, how do you discuss its 1. The War of Independence (1810–21)'s Valerio Trujano (1767-1812)? | = Valerio Trujano (1767-1812) In the image above of the group of insurgents, Valerio Trujano could be the soldier on the priest's right. His grey hair is a clue. In 1811, at the age of 44, Valerio Trujano, a former mule driver, joined the rebels, led guerilla action against Spanish forces and won several important victories. Besieged at Huajuapan de Leó, 170 kilometers from Antequera, Trujano held out for 111 days, resisting 15 assaults, until he received reinforcements sent by the revolutionary leader José María Morelos. With the help of the extra troops, Trujano won the battle of Huajuapan, on July 13, 1812. When the royalists retreated, they abandoned 30 cannons, over 2,000 rifles, and ammunition, and left 400 dead, and more than three hundred prisoners. And the insurgents gained control of the Antequera area.
Later, in a battle in the state of Puebla, Trujano, with only one hundred men, faced four hundred royalists. During the retreat Trujano's son Gil was taken prisoner. Valerio Trujano escaped and returned to try to save his son, but he was killed on October 7, 1812. | [
"Puebla",
"Valerio Trujano",
"José María Morelos",
"insurgents",
"Antequera",
"Morelos",
"left"
] |
|
18114_NT | Oaxaca en la historia y en el mito | When looking at the Independence, Reform, Revolution Panel of this artwork, how do you discuss its 1. The War of Independence (1810–21)'s Valerio Trujano (1767-1812)? | = Valerio Trujano (1767-1812) In the image above of the group of insurgents, Valerio Trujano could be the soldier on the priest's right. His grey hair is a clue. In 1811, at the age of 44, Valerio Trujano, a former mule driver, joined the rebels, led guerilla action against Spanish forces and won several important victories. Besieged at Huajuapan de Leó, 170 kilometers from Antequera, Trujano held out for 111 days, resisting 15 assaults, until he received reinforcements sent by the revolutionary leader José María Morelos. With the help of the extra troops, Trujano won the battle of Huajuapan, on July 13, 1812. When the royalists retreated, they abandoned 30 cannons, over 2,000 rifles, and ammunition, and left 400 dead, and more than three hundred prisoners. And the insurgents gained control of the Antequera area.
Later, in a battle in the state of Puebla, Trujano, with only one hundred men, faced four hundred royalists. During the retreat Trujano's son Gil was taken prisoner. Valerio Trujano escaped and returned to try to save his son, but he was killed on October 7, 1812. | [
"Puebla",
"Valerio Trujano",
"José María Morelos",
"insurgents",
"Antequera",
"Morelos",
"left"
] |
|
18115_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, explore the Afro-Mexican soldiers about the 1. The War of Independence (1810–21). | = Afro-Mexican soldiers In the mural, two afro-Mexicans stand among the celebrated insurgent leaders, one in the front row, one in the back. The message seems to be that afro-Mexicans, possibly former slaves, supported the rebels. | [
"supported the rebels",
"Afro-Mexican",
"Mexica",
"mural"
] |
|
18115_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, explore the Afro-Mexican soldiers about the 1. The War of Independence (1810–21). | = Afro-Mexican soldiers In the mural, two afro-Mexicans stand among the celebrated insurgent leaders, one in the front row, one in the back. The message seems to be that afro-Mexicans, possibly former slaves, supported the rebels. | [
"supported the rebels",
"Afro-Mexican",
"Mexica",
"mural"
] |
|
18116_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, explain the Carlos María de Bustamante (1774-1848) about the 1. The War of Independence (1810–21). | = Carlos María de Bustamante (1774-1848) García Bustos tells us that he included Bustamante in the mural. Bustamante was a prolific writer and insurgent born in Antequera. In the image below he is pictured with his printing press and holding a copy of El Correo del Sur. This publication was a mouthpiece to promote independence from Spain. He later wrote volumes of history about the War of Independence, thus creating stories that were not lost and helped to immortalize insurgent leaders discussed here. Bustamante's washed-out appearance, drab colors could be García Bustos ‘way of reminding us that Carlos Bustamante spent a large block of time in jail. | [
"independence",
"War of Independence",
"Independence",
"Antequera",
"mural"
] |
|
18116_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, explain the Carlos María de Bustamante (1774-1848) about the 1. The War of Independence (1810–21). | = Carlos María de Bustamante (1774-1848) García Bustos tells us that he included Bustamante in the mural. Bustamante was a prolific writer and insurgent born in Antequera. In the image below he is pictured with his printing press and holding a copy of El Correo del Sur. This publication was a mouthpiece to promote independence from Spain. He later wrote volumes of history about the War of Independence, thus creating stories that were not lost and helped to immortalize insurgent leaders discussed here. Bustamante's washed-out appearance, drab colors could be García Bustos ‘way of reminding us that Carlos Bustamante spent a large block of time in jail. | [
"independence",
"War of Independence",
"Independence",
"Antequera",
"mural"
] |
|
18117_T | Oaxaca en la historia y en el mito | Explore the The man beside Carlos María de Bustamante (General Antonio de León y Loyola?) about the 1. The War of Independence (1810–21) of the Independence, Reform, Revolution Panel in this artwork, Oaxaca en la historia y en el mito. | = The man beside Carlos María de Bustamante (General Antonio de León y Loyola?) In the picture above, one resource suggests General Antonio de León stands beside Carlos María de Bustamante. He was a famous son of Oaxaca born in Huajuapan de León, Oaxaca and in 1821 he funded and led an army that liberated the city of Oaxaca from Spanish rule. He also commanded the military in Oaxaca after Mexico was granted independence and in 1847 valiantly led Mexican troops in the Battle of Molino del Rey; although, he was killed and the victorious Americans advanced on Mexico City.
The picture below, the only available on the internet does not look like the man beside Bustamante but there is another image from a reputable source that cannot be posted here for copyright reasons and it does look like General Antonio de León. It can be seen here. And placing General Antonio de León beside Carlos María de Bustamante is logical because both represented Oaxaca, along with 10 others, in the Congreso Constituyente to write a new constitution for Mexico. | [
"Oaxaca",
"Mexica",
"independence",
"Congreso Constituyente"
] |
|
18117_NT | Oaxaca en la historia y en el mito | Explore the The man beside Carlos María de Bustamante (General Antonio de León y Loyola?) about the 1. The War of Independence (1810–21) of the Independence, Reform, Revolution Panel in this artwork. | = The man beside Carlos María de Bustamante (General Antonio de León y Loyola?) In the picture above, one resource suggests General Antonio de León stands beside Carlos María de Bustamante. He was a famous son of Oaxaca born in Huajuapan de León, Oaxaca and in 1821 he funded and led an army that liberated the city of Oaxaca from Spanish rule. He also commanded the military in Oaxaca after Mexico was granted independence and in 1847 valiantly led Mexican troops in the Battle of Molino del Rey; although, he was killed and the victorious Americans advanced on Mexico City.
The picture below, the only available on the internet does not look like the man beside Bustamante but there is another image from a reputable source that cannot be posted here for copyright reasons and it does look like General Antonio de León. It can be seen here. And placing General Antonio de León beside Carlos María de Bustamante is logical because both represented Oaxaca, along with 10 others, in the Congreso Constituyente to write a new constitution for Mexico. | [
"Oaxaca",
"Mexica",
"independence",
"Congreso Constituyente"
] |
|
18118_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, discuss the Manuel Sabino Crespo (1778-1814) about the 1. The War of Independence (1810–21). | = Manuel Sabino Crespo (1778-1814) Crespo, like insurgents Morelos and Matamoros was a priest. Crespo was a leader in the War of Independence. Crespo is most likely the priest in the image of insurgents, although another source, including the description of the mural published for the inauguration of the mural indicate that the priest is Mariano Matamoros y Guridi. However, the image on the mural closely resembles a statue of Crespo in the town of Ejutla de Crespo suggesting that this statue of Crespo is the model for the priest in the mural. Or vice versa. Although he was a priest in the small community of San Mateo Rio Hondo, 130 km from Antequera on the road to Huatulco, he was also a professor at the seminary school of the Holy Cross of Antequera. He joined the insurgent movement when José María Morelos and others we have mentioned, carried out the capture of Antequera in 1812. In September 1813, he participated in the Congress of Anahuac as a substitute for José María Murguía y Galardi, representing the province of Oaxaca.
During the war, a civil war, there were plenty of heated discussions and Crespo participated in them, especially in the Cathedral of Antequera. In 1813 Crespo argued that priests should continue to provide the Catholic sacraments to the insurgents. It appears that Crespo did not fight in battles as a soldier, although he was wounded in 1814 in a loyalist attack in which 200 insurgents died.
When he was captured in 1814, the Bishop of Antequera, Antonio Bergosa y Jordán, recommended that Sabino Crespo be beheaded. Despite the condemnation of his bishop, Crespo died by firing squad on October 14, 1814. | [
"Oaxaca",
"firing squad",
"civil war",
"José María Morelos",
"insurgents",
"Matamoros",
"Congress of Anahuac",
"recommended that Sabino Crespo be beheaded",
"War of Independence",
"Mariano Matamoros",
"Antonio Bergosa y Jordán",
"Independence",
"capture of Antequera",
"Mariano Matamoros y Guridi",
"Antequera",
"Morelos",
"Crespo",
"mural"
] |
|
18118_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, discuss the Manuel Sabino Crespo (1778-1814) about the 1. The War of Independence (1810–21). | = Manuel Sabino Crespo (1778-1814) Crespo, like insurgents Morelos and Matamoros was a priest. Crespo was a leader in the War of Independence. Crespo is most likely the priest in the image of insurgents, although another source, including the description of the mural published for the inauguration of the mural indicate that the priest is Mariano Matamoros y Guridi. However, the image on the mural closely resembles a statue of Crespo in the town of Ejutla de Crespo suggesting that this statue of Crespo is the model for the priest in the mural. Or vice versa. Although he was a priest in the small community of San Mateo Rio Hondo, 130 km from Antequera on the road to Huatulco, he was also a professor at the seminary school of the Holy Cross of Antequera. He joined the insurgent movement when José María Morelos and others we have mentioned, carried out the capture of Antequera in 1812. In September 1813, he participated in the Congress of Anahuac as a substitute for José María Murguía y Galardi, representing the province of Oaxaca.
During the war, a civil war, there were plenty of heated discussions and Crespo participated in them, especially in the Cathedral of Antequera. In 1813 Crespo argued that priests should continue to provide the Catholic sacraments to the insurgents. It appears that Crespo did not fight in battles as a soldier, although he was wounded in 1814 in a loyalist attack in which 200 insurgents died.
When he was captured in 1814, the Bishop of Antequera, Antonio Bergosa y Jordán, recommended that Sabino Crespo be beheaded. Despite the condemnation of his bishop, Crespo died by firing squad on October 14, 1814. | [
"Oaxaca",
"firing squad",
"civil war",
"José María Morelos",
"insurgents",
"Matamoros",
"Congress of Anahuac",
"recommended that Sabino Crespo be beheaded",
"War of Independence",
"Mariano Matamoros",
"Antonio Bergosa y Jordán",
"Independence",
"capture of Antequera",
"Mariano Matamoros y Guridi",
"Antequera",
"Morelos",
"Crespo",
"mural"
] |
|
18119_T | Oaxaca en la historia y en el mito | Regarding Oaxaca en la historia y en el mito, how does the Independence, Reform, Revolution Panel's 1. The War of Independence (1810–21) incorporate the General Manuel Mier y Terán (1789-1832)? | = General Manuel Mier y Terán (1789-1832) Arturo García Bustos does not illustrate executions on the mural or other forms of death but in the image below, he shows a suicide, the result of General Manuel Mier y Terán, who helped lead the assault on Oaxaca, “falling on his sword” after his troops were defeated in another military exercise in 1832. The sword appears in the image as does the skull on the extreme left. The skull represents Mictlāntēcutli, the god of death, for the Aztecs and called Kedo by the Zapotecs.
Summing up the scene above, and putting it into a larger context, the image below reflects the arc of life starting on the left with the god of life Ehécatl, moving to the middle with three generations of women who maintain life, refreshed by a flowing stream, and ending with Mictlāntēcutli, the god of death. The mother with her child is celebrating her ancestors with cempasúchil flowers, technically called Tagetes erecta or Marigolds in English. The grandmother in the back supports the mother and child. Generally speaking to the left of the image below, the mural highlights reform and to the right we have images mostly from the War of Independence. | [
"Ehécatl",
"Mictlāntēcutli",
"Arturo García Bustos",
"Oaxaca",
"English",
"celebrating",
"Zapotec",
"War of Independence",
"Zapotecs",
"fall",
"Independence",
"Tagetes erecta",
"Aztecs",
"General Manuel Mier y Terán",
"mural",
"execution",
"left"
] |
|
18119_NT | Oaxaca en la historia y en el mito | Regarding this artwork, how does the Independence, Reform, Revolution Panel's 1. The War of Independence (1810–21) incorporate the General Manuel Mier y Terán (1789-1832)? | = General Manuel Mier y Terán (1789-1832) Arturo García Bustos does not illustrate executions on the mural or other forms of death but in the image below, he shows a suicide, the result of General Manuel Mier y Terán, who helped lead the assault on Oaxaca, “falling on his sword” after his troops were defeated in another military exercise in 1832. The sword appears in the image as does the skull on the extreme left. The skull represents Mictlāntēcutli, the god of death, for the Aztecs and called Kedo by the Zapotecs.
Summing up the scene above, and putting it into a larger context, the image below reflects the arc of life starting on the left with the god of life Ehécatl, moving to the middle with three generations of women who maintain life, refreshed by a flowing stream, and ending with Mictlāntēcutli, the god of death. The mother with her child is celebrating her ancestors with cempasúchil flowers, technically called Tagetes erecta or Marigolds in English. The grandmother in the back supports the mother and child. Generally speaking to the left of the image below, the mural highlights reform and to the right we have images mostly from the War of Independence. | [
"Ehécatl",
"Mictlāntēcutli",
"Arturo García Bustos",
"Oaxaca",
"English",
"celebrating",
"Zapotec",
"War of Independence",
"Zapotecs",
"fall",
"Independence",
"Tagetes erecta",
"Aztecs",
"General Manuel Mier y Terán",
"mural",
"execution",
"left"
] |
|
18120_T | Oaxaca en la historia y en el mito | In the context of Oaxaca en la historia y en el mito, analyze the The Mexican - American War (1846-48) of the Independence, Reform, Revolution Panel. | The Mexican-American war pitted soldiers from the United States against Mexican soldiers and in that sense it not a civil war, like the other wars depicted here. Nor does it seem to appear on the mural, directly, perhaps because the Americans did not advance on Oaxaca. However, Oaxacans like Porfirio Díaz joined the military to defend Oaxaca when the Americans were moving in the direction of Oaxaca and after the Mexican-American War a teenaged Díaz decide to pursue a military career and eventually became a major Caudillo in the history of Oaxaca and Mexico. Also, Santa Anna, who led the Mexican troops and was a dictator during the war, appears on the mural in the form of his prosthetic leg. Retreating from losses in 1848 and wanting to regroup in Oaxaca, Juárez, the Governor of Oaxaca, refused Santa Anna entry into Oaxaca. Santa Anna considered this a hostile gesture and he never forgot it. When Santa Anna regained power after the war, Juárez decided to exile himself to New Orleans in 1853. More about Santa Anna below. | [
"Oaxaca",
"civil war",
"Mexica",
"Mexican-American War",
"Santa Anna",
"New Orleans",
"Caudillo",
"prosthetic leg",
"mural",
"Porfirio Díaz"
] |
|
18120_NT | Oaxaca en la historia y en el mito | In the context of this artwork, analyze the The Mexican - American War (1846-48) of the Independence, Reform, Revolution Panel. | The Mexican-American war pitted soldiers from the United States against Mexican soldiers and in that sense it not a civil war, like the other wars depicted here. Nor does it seem to appear on the mural, directly, perhaps because the Americans did not advance on Oaxaca. However, Oaxacans like Porfirio Díaz joined the military to defend Oaxaca when the Americans were moving in the direction of Oaxaca and after the Mexican-American War a teenaged Díaz decide to pursue a military career and eventually became a major Caudillo in the history of Oaxaca and Mexico. Also, Santa Anna, who led the Mexican troops and was a dictator during the war, appears on the mural in the form of his prosthetic leg. Retreating from losses in 1848 and wanting to regroup in Oaxaca, Juárez, the Governor of Oaxaca, refused Santa Anna entry into Oaxaca. Santa Anna considered this a hostile gesture and he never forgot it. When Santa Anna regained power after the war, Juárez decided to exile himself to New Orleans in 1853. More about Santa Anna below. | [
"Oaxaca",
"civil war",
"Mexica",
"Mexican-American War",
"Santa Anna",
"New Orleans",
"Caudillo",
"prosthetic leg",
"mural",
"Porfirio Díaz"
] |
|
18121_T | Oaxaca en la historia y en el mito | Describe the characteristics of the War of Reform (1857-60) in Oaxaca en la historia y en el mito's Independence, Reform, Revolution Panel. | The War of Reform was a civil war growing out of Conservative reaction to progressive laws known as La Reforma passed by Liberals, initially led by Ignacio Comonfort and later by Juan Álvarez and Benito Juárez. Initially Oaxaca supported the Conservative side. The Liberal defeated the Conservatives and implemented reform legislation that began in 1854 with the Plan de Ayutla, calling for the removal of the dictator Santa Anna, leading to the Ley Juárez legislation that abolished the Fueros granting special legal and financial privileges to the Catholic Church. In Oaxaca, however, the lines between Conservatives and Liberals were not always clearly drawn. In 1857 the congress, passed a liberal, federalist constitution limiting the power of the church and the military. | [
"Plan de Ayutla",
"Ignacio Comonfort",
"Oaxaca",
"civil war",
"Benito Juárez",
"Ley Juárez",
"War of Reform",
"La Reforma",
"Santa Anna",
"Juan Álvarez",
"Fuero",
"Catholic Church",
"Fueros",
"Conservative"
] |
|
18121_NT | Oaxaca en la historia y en el mito | Describe the characteristics of the War of Reform (1857-60) in this artwork's Independence, Reform, Revolution Panel. | The War of Reform was a civil war growing out of Conservative reaction to progressive laws known as La Reforma passed by Liberals, initially led by Ignacio Comonfort and later by Juan Álvarez and Benito Juárez. Initially Oaxaca supported the Conservative side. The Liberal defeated the Conservatives and implemented reform legislation that began in 1854 with the Plan de Ayutla, calling for the removal of the dictator Santa Anna, leading to the Ley Juárez legislation that abolished the Fueros granting special legal and financial privileges to the Catholic Church. In Oaxaca, however, the lines between Conservatives and Liberals were not always clearly drawn. In 1857 the congress, passed a liberal, federalist constitution limiting the power of the church and the military. | [
"Plan de Ayutla",
"Ignacio Comonfort",
"Oaxaca",
"civil war",
"Benito Juárez",
"Ley Juárez",
"War of Reform",
"La Reforma",
"Santa Anna",
"Juan Álvarez",
"Fuero",
"Catholic Church",
"Fueros",
"Conservative"
] |
|
18122_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, explore the A Surprise Guest about the War of Reform (1857-60). | A Surprise Guest As we saw with the shaman in prehispanic panel that looks like the artist and an image of a woman on the colonial panel that resembles his wife Rina Lazo, the artist does not hesitate to include family members in the mural and in that sense make the mural his personal story as well as the story of Oaxaca and Mexico. The soldier below depicts Nicolas Bustos, the great-grandfather of Arturo García Bustos. The artist credits this ancestor as the source of his liberal thinking. | [
"Arturo García Bustos",
"Oaxaca",
"Rina Lazo",
"colonial",
"mural"
] |
|
18122_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, explore the A Surprise Guest about the War of Reform (1857-60). | A Surprise Guest As we saw with the shaman in prehispanic panel that looks like the artist and an image of a woman on the colonial panel that resembles his wife Rina Lazo, the artist does not hesitate to include family members in the mural and in that sense make the mural his personal story as well as the story of Oaxaca and Mexico. The soldier below depicts Nicolas Bustos, the great-grandfather of Arturo García Bustos. The artist credits this ancestor as the source of his liberal thinking. | [
"Arturo García Bustos",
"Oaxaca",
"Rina Lazo",
"colonial",
"mural"
] |
|
18123_T | Oaxaca en la historia y en el mito | In the context of Oaxaca en la historia y en el mito, explain the 3. The Second French Invasion, (1861–67) of the Independence, Reform, Revolution Panel. | The first French Invasion called the Pastry War (1838–39) and was a minor skirmish in which French citizen tried to recover their commercial losses due to chaos that followed the independence of Mexico. And it was a harbinger of something much bigger. In the Pastry War, the French attackers were subdued by Santa Anna.
The Second French intervention in Mexico was a major war by European powers, initially France, England and Spain and later only France, to recover debts owed by Mexico and later to install a regime in Mexico favourable to France. It was a civil war like the other wars discussed here pitting Mexican conservatives against Mexican liberals. In that sense the Second French Invasion represents a continuation of the War of Reform and the War of Independence.
In the image below, which is not from the mural, Mexican Conservatives are inviting Maximilian to become the Emperor of Mexico. The role of Mexican Conservatives in keeping monarchism alive and in inviting Maximilian to Mexico sometimes gets overlooked and the Second French Intervention in Mexico is sometimes incorrectly attributed solely to France, and not linked to Mexican conservatives who also played a major role in initiating and prolonging the war. | [
"Emperor",
"civil war",
"Maximilian",
"Second French Intervention",
"Emperor of Mexico",
"Mexica",
"Second French intervention in Mexico",
"War of Reform",
"Santa Anna",
"Pastry War",
"independence",
"War of Independence",
"Independence",
"Second French Invasion",
"Second French Intervention in Mexico",
"Conservative",
"mural",
"The Second French intervention in Mexico"
] |
|
18123_NT | Oaxaca en la historia y en el mito | In the context of this artwork, explain the 3. The Second French Invasion, (1861–67) of the Independence, Reform, Revolution Panel. | The first French Invasion called the Pastry War (1838–39) and was a minor skirmish in which French citizen tried to recover their commercial losses due to chaos that followed the independence of Mexico. And it was a harbinger of something much bigger. In the Pastry War, the French attackers were subdued by Santa Anna.
The Second French intervention in Mexico was a major war by European powers, initially France, England and Spain and later only France, to recover debts owed by Mexico and later to install a regime in Mexico favourable to France. It was a civil war like the other wars discussed here pitting Mexican conservatives against Mexican liberals. In that sense the Second French Invasion represents a continuation of the War of Reform and the War of Independence.
In the image below, which is not from the mural, Mexican Conservatives are inviting Maximilian to become the Emperor of Mexico. The role of Mexican Conservatives in keeping monarchism alive and in inviting Maximilian to Mexico sometimes gets overlooked and the Second French Intervention in Mexico is sometimes incorrectly attributed solely to France, and not linked to Mexican conservatives who also played a major role in initiating and prolonging the war. | [
"Emperor",
"civil war",
"Maximilian",
"Second French Intervention",
"Emperor of Mexico",
"Mexica",
"Second French intervention in Mexico",
"War of Reform",
"Santa Anna",
"Pastry War",
"independence",
"War of Independence",
"Independence",
"Second French Invasion",
"Second French Intervention in Mexico",
"Conservative",
"mural",
"The Second French intervention in Mexico"
] |
|
18124_T | Oaxaca en la historia y en el mito | Explore the Mexico's Emperors about the 3. The Second French Invasion, (1861–67) of the Independence, Reform, Revolution Panel in this artwork, Oaxaca en la historia y en el mito. | Mexico's Emperors Mexico had two emperors. Both died by firing squad. The First Emperor of Mexico was Agustín de Iturbide who reigned from less than a year starting in 1822. He was executed on 19 July 1824. Maximilian I of Mexico reigned as the Emperor of the Second Mexican Empire for a little over three years until his execution on 19 June 1867. | [
"Emperor",
"firing squad",
"Maximilian",
"Emperor of Mexico",
"The First Emperor of Mexico",
"Mexica",
"Maximilian I of Mexico",
"Agustín de Iturbide",
"Second Mexican Empire",
"execution"
] |
|
18124_NT | Oaxaca en la historia y en el mito | Explore the Mexico's Emperors about the 3. The Second French Invasion, (1861–67) of the Independence, Reform, Revolution Panel in this artwork. | Mexico's Emperors Mexico had two emperors. Both died by firing squad. The First Emperor of Mexico was Agustín de Iturbide who reigned from less than a year starting in 1822. He was executed on 19 July 1824. Maximilian I of Mexico reigned as the Emperor of the Second Mexican Empire for a little over three years until his execution on 19 June 1867. | [
"Emperor",
"firing squad",
"Maximilian",
"Emperor of Mexico",
"The First Emperor of Mexico",
"Mexica",
"Maximilian I of Mexico",
"Agustín de Iturbide",
"Second Mexican Empire",
"execution"
] |
|
18125_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, discuss the How Mexico got her First Emperor about the 3. The Second French Invasion, (1861–67). | = How Mexico got her First Emperor Returning our attention to the War of Independence (1810-1821), after Mexico became independent from Spain, Agustín de Iturbide became Emperor of Mexico, formally from May 9, 1822, to March 19, 1823. In a strange twist of fate, it was Mexican conservatives, led by Iturbide, who brought about independence in 1821, not the liberal insurgents who had started the War of Independence in 1810. The explanation is that when liberals took power in Spain, promises were made in the Constitution of Cadiz for liberalizing the administration of the colonies like New Spain (Mexico). These changes would appease Mexican insurgents and the royalists, their opponents in the War of Independence, would lose some of their power. Rather than have Spanish liberal ideas imposed on Mexico, the Conservative agreed with the Liberals to draw up the Plan of Iguala of 1821. It contained three guarantees for establishing peace: the primacy of Roman Catholicism, the independence of Mexico, and social equality for all Mexicans. | [
"Emperor",
"social equality",
"Emperor of Mexico",
"Constitution of Cadiz",
"Mexica",
"insurgents",
"Roman Catholicism",
"liberal ideas",
"independence",
"War of Independence",
"Independence",
"Agustín de Iturbide",
"Plan of Iguala",
"New Spain",
"Conservative"
] |
|
18125_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, discuss the How Mexico got her First Emperor about the 3. The Second French Invasion, (1861–67). | = How Mexico got her First Emperor Returning our attention to the War of Independence (1810-1821), after Mexico became independent from Spain, Agustín de Iturbide became Emperor of Mexico, formally from May 9, 1822, to March 19, 1823. In a strange twist of fate, it was Mexican conservatives, led by Iturbide, who brought about independence in 1821, not the liberal insurgents who had started the War of Independence in 1810. The explanation is that when liberals took power in Spain, promises were made in the Constitution of Cadiz for liberalizing the administration of the colonies like New Spain (Mexico). These changes would appease Mexican insurgents and the royalists, their opponents in the War of Independence, would lose some of their power. Rather than have Spanish liberal ideas imposed on Mexico, the Conservative agreed with the Liberals to draw up the Plan of Iguala of 1821. It contained three guarantees for establishing peace: the primacy of Roman Catholicism, the independence of Mexico, and social equality for all Mexicans. | [
"Emperor",
"social equality",
"Emperor of Mexico",
"Constitution of Cadiz",
"Mexica",
"insurgents",
"Roman Catholicism",
"liberal ideas",
"independence",
"War of Independence",
"Independence",
"Agustín de Iturbide",
"Plan of Iguala",
"New Spain",
"Conservative"
] |
|
18126_T | Oaxaca en la historia y en el mito | Regarding Oaxaca en la historia y en el mito, how does the Independence, Reform, Revolution Panel's 3. The Second French Invasion, (1861–67) incorporate the The First President of Mexico? | = The First President of Mexico The Plan of Iguala established Mexico as a constitutional monarchy and as mentioned above, Iturbide became the first emperor. But he ruled for less than a year before Guadalupe Victoria, an insurgent in the War of Independence was installed as the first president of the United States of Mexico after the adoption of the Constitution of 1824. | [
"President of Mexico",
"United States of Mexico",
"War of Independence",
"Independence",
"Plan of Iguala",
"Guadalupe Victoria",
"constitutional monarchy",
"Constitution of 1824"
] |
|
18126_NT | Oaxaca en la historia y en el mito | Regarding this artwork, how does the Independence, Reform, Revolution Panel's 3. The Second French Invasion, (1861–67) incorporate the The First President of Mexico? | = The First President of Mexico The Plan of Iguala established Mexico as a constitutional monarchy and as mentioned above, Iturbide became the first emperor. But he ruled for less than a year before Guadalupe Victoria, an insurgent in the War of Independence was installed as the first president of the United States of Mexico after the adoption of the Constitution of 1824. | [
"President of Mexico",
"United States of Mexico",
"War of Independence",
"Independence",
"Plan of Iguala",
"Guadalupe Victoria",
"constitutional monarchy",
"Constitution of 1824"
] |
|
18127_T | Oaxaca en la historia y en el mito | In the context of Oaxaca en la historia y en el mito, analyze the Benito Pablo Juárez García (1806-1872) of the Independence, Reform, Revolution Panel. | Former President, Benito Juárez, is the most prominent personality, at the top and middle of the panel. This is understandable since Oaxaca had become Oaxaca de Juárez after his death in 1872. The quotation beside his floating head translates as Respect for the rights of others is peace. The full version is "Entre los individuos, como entre las naciones, el respeto al derecho ajeno es la paz.” (In English: Between individuals as between nations, respect for the rights of others is peace.) Juárez wrote these words in a manifesto dated July 15, 1867, after Maximilian was defeated and executed at the end of the Second Mexican Empire. | [
"Oaxaca",
"Maximilian",
"Benito Juárez",
"English",
"Mexica",
"Benito Pablo Juárez García",
"Second Mexican Empire",
"Oaxaca de Juárez",
"el respeto al derecho ajeno es la paz"
] |
|
18127_NT | Oaxaca en la historia y en el mito | In the context of this artwork, analyze the Benito Pablo Juárez García (1806-1872) of the Independence, Reform, Revolution Panel. | Former President, Benito Juárez, is the most prominent personality, at the top and middle of the panel. This is understandable since Oaxaca had become Oaxaca de Juárez after his death in 1872. The quotation beside his floating head translates as Respect for the rights of others is peace. The full version is "Entre los individuos, como entre las naciones, el respeto al derecho ajeno es la paz.” (In English: Between individuals as between nations, respect for the rights of others is peace.) Juárez wrote these words in a manifesto dated July 15, 1867, after Maximilian was defeated and executed at the end of the Second Mexican Empire. | [
"Oaxaca",
"Maximilian",
"Benito Juárez",
"English",
"Mexica",
"Benito Pablo Juárez García",
"Second Mexican Empire",
"Oaxaca de Juárez",
"el respeto al derecho ajeno es la paz"
] |
|
18128_T | Oaxaca en la historia y en el mito | Describe the characteristics of the Margarita Maza Juárez in Oaxaca en la historia y en el mito's Independence, Reform, Revolution Panel. | García Bustos makes a statement by blending a determined, almost dour Benito Juárez with his equally determined looking partner of over 27 years, Margarita Maza. The couple married in 1843, when Juárez was a 37-year-old civil judge and the well-educated Maza was 17 years old. Margarita's father was Italian which placed her in a much higher class than Juárez whose both parents were indigenous. And the marriage helped inch Juárez up the social ladder in race-conscious Oaxaca. They lived in turbulent times and both were exiled to the United States at different times. Margarita lived in New York City, and then in Washington, DC, and two of their young sons died there, in 1864 and 1865. In Washington, President Lincoln received her as the First Lady of Mexico. After Maximilian I was deposed in 1867 by Juárez forces, Margarita Maza returned to Mexico and she lived for four more years, until she died of cancer. | [
"Oaxaca",
"Maximilian",
"Benito Juárez",
"New York City",
"Margarita Maza"
] |
|
18128_NT | Oaxaca en la historia y en el mito | Describe the characteristics of the Margarita Maza Juárez in this artwork's Independence, Reform, Revolution Panel. | García Bustos makes a statement by blending a determined, almost dour Benito Juárez with his equally determined looking partner of over 27 years, Margarita Maza. The couple married in 1843, when Juárez was a 37-year-old civil judge and the well-educated Maza was 17 years old. Margarita's father was Italian which placed her in a much higher class than Juárez whose both parents were indigenous. And the marriage helped inch Juárez up the social ladder in race-conscious Oaxaca. They lived in turbulent times and both were exiled to the United States at different times. Margarita lived in New York City, and then in Washington, DC, and two of their young sons died there, in 1864 and 1865. In Washington, President Lincoln received her as the First Lady of Mexico. After Maximilian I was deposed in 1867 by Juárez forces, Margarita Maza returned to Mexico and she lived for four more years, until she died of cancer. | [
"Oaxaca",
"Maximilian",
"Benito Juárez",
"New York City",
"Margarita Maza"
] |
|
18129_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, explore the Juárez and 11 men about the Margarita Maza Juárez. | Juárez and 11 men Benito Juárez shares a prominent place on this panel along with 11 men mostly from Oaxaca who contributed to his success. received her as They are noted for their association with the Institute of Sciences and Arts of Oaxaca, their government service, their military leadership and their service in the Juárez cabinets.
Of the seven men on the right hand of Benito Juárez, the first one is General Ignacio Zaragoza Seguin. He famously led the Mexican army of 600 men, (or was it 2,000) at the Battle of Puebla on May 5, 1862. This is the origin of the Cinco de Mayo celebrations. Next, the soldier with the hat and sword is General Mariano Escobedo. Maximilian handed him the sword he holds before his execution.
Ignacio Ramírez is third to the right of Juárez. He is famous for his atheism and contributions to anti-clericalism in Mexico that limited the Catholic Church and was linked to four of the five civil wars. Next is Matias Romero, a writer of deep thought, like others in the picture he helped to draft the Constitution of 1857. Ignacio Mariscal stands fifth. For more than 27 years he held the position of Secretary of Foreign Relations. Beside him, Marcos Pérez, a teacher at the Oaxaca State Institute of Arts and Sciences. The seventh man is José María Castillo Velasco. He also help to draft the Constitution of '57 and served as a colonel during the French Intervention. Most of these men are Caudillos (military and political leaders), a phenomenon discussed below.
Of the four men pictured on the left of Juárez, the first man is Melchor Ocampo, with his hand on his heart. In France he learned about the liberal and anticlerical ideas of the Enlightenment and the French Revolution. His radical anti-clerical ideas were incorporated in the Reform Laws and the Mexican Constitution of 1857. Next is Ignacio Mejía. He was a Mexican politician and also he fought in the Mexican-American War (1846–48), in the War of Reform (1858–60), in the Second French Intervention in Mexico (1861-1867). Next, a young Porfirio Díaz Mori looks defiant in his military uniform. He supported Juárez in the Reform War and during the French invasion. Later he broke with Juárez and became the dictator-president of Mexico for 34 years. Both Juárez and Díaz were from Oaxaca and attended El Instituto de Ciencias y Artes de Oaxaca where they learned liberal ideas. Díaz later supplement his liberal ideas with strong-arm techniques. The last man to the left of Juárez is José Marie Díaz Ordaz. He was a governor of Oaxaca and fought against the Conservatives. | [
"Puebla",
"May 5, 1862",
"Oaxaca",
"anticlerical ideas",
"civil war",
"Melchor Ocampo",
"Maximilian",
"Benito Juárez",
"Mexican army",
"Second French Intervention",
"José María Castillo Velasco",
"Constitution of 1857",
"Enlightenment",
"atheism",
"Mexica",
"War of Reform",
"Mexican-American War",
"liberal ideas",
"Reform War",
"Matias Romero",
"Battle of Puebla",
"General Ignacio Zaragoza Seguin",
"Ignacio Ramírez",
"Catholic Church",
"Instituto de Ciencias y Artes de Oaxaca",
"Reform Laws",
"Second French Intervention in Mexico",
"Caudillo",
"anti-clerical",
"Institute of Sciences and Arts of Oaxaca",
"Mariano Escobedo",
"Porfirio Díaz Mori",
"anti-clericalism in Mexico",
"Cinco de Mayo",
"Conservative",
"Mexican Constitution of 1857",
"Ignacio Mejía",
"Ignacio Zaragoza",
"Ignacio Mariscal",
"execution",
"left",
"General Mariano Escobedo",
"French Revolution",
"Porfirio Díaz"
] |
|
18129_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, explore the Juárez and 11 men about the Margarita Maza Juárez. | Juárez and 11 men Benito Juárez shares a prominent place on this panel along with 11 men mostly from Oaxaca who contributed to his success. received her as They are noted for their association with the Institute of Sciences and Arts of Oaxaca, their government service, their military leadership and their service in the Juárez cabinets.
Of the seven men on the right hand of Benito Juárez, the first one is General Ignacio Zaragoza Seguin. He famously led the Mexican army of 600 men, (or was it 2,000) at the Battle of Puebla on May 5, 1862. This is the origin of the Cinco de Mayo celebrations. Next, the soldier with the hat and sword is General Mariano Escobedo. Maximilian handed him the sword he holds before his execution.
Ignacio Ramírez is third to the right of Juárez. He is famous for his atheism and contributions to anti-clericalism in Mexico that limited the Catholic Church and was linked to four of the five civil wars. Next is Matias Romero, a writer of deep thought, like others in the picture he helped to draft the Constitution of 1857. Ignacio Mariscal stands fifth. For more than 27 years he held the position of Secretary of Foreign Relations. Beside him, Marcos Pérez, a teacher at the Oaxaca State Institute of Arts and Sciences. The seventh man is José María Castillo Velasco. He also help to draft the Constitution of '57 and served as a colonel during the French Intervention. Most of these men are Caudillos (military and political leaders), a phenomenon discussed below.
Of the four men pictured on the left of Juárez, the first man is Melchor Ocampo, with his hand on his heart. In France he learned about the liberal and anticlerical ideas of the Enlightenment and the French Revolution. His radical anti-clerical ideas were incorporated in the Reform Laws and the Mexican Constitution of 1857. Next is Ignacio Mejía. He was a Mexican politician and also he fought in the Mexican-American War (1846–48), in the War of Reform (1858–60), in the Second French Intervention in Mexico (1861-1867). Next, a young Porfirio Díaz Mori looks defiant in his military uniform. He supported Juárez in the Reform War and during the French invasion. Later he broke with Juárez and became the dictator-president of Mexico for 34 years. Both Juárez and Díaz were from Oaxaca and attended El Instituto de Ciencias y Artes de Oaxaca where they learned liberal ideas. Díaz later supplement his liberal ideas with strong-arm techniques. The last man to the left of Juárez is José Marie Díaz Ordaz. He was a governor of Oaxaca and fought against the Conservatives. | [
"Puebla",
"May 5, 1862",
"Oaxaca",
"anticlerical ideas",
"civil war",
"Melchor Ocampo",
"Maximilian",
"Benito Juárez",
"Mexican army",
"Second French Intervention",
"José María Castillo Velasco",
"Constitution of 1857",
"Enlightenment",
"atheism",
"Mexica",
"War of Reform",
"Mexican-American War",
"liberal ideas",
"Reform War",
"Matias Romero",
"Battle of Puebla",
"General Ignacio Zaragoza Seguin",
"Ignacio Ramírez",
"Catholic Church",
"Instituto de Ciencias y Artes de Oaxaca",
"Reform Laws",
"Second French Intervention in Mexico",
"Caudillo",
"anti-clerical",
"Institute of Sciences and Arts of Oaxaca",
"Mariano Escobedo",
"Porfirio Díaz Mori",
"anti-clericalism in Mexico",
"Cinco de Mayo",
"Conservative",
"Mexican Constitution of 1857",
"Ignacio Mejía",
"Ignacio Zaragoza",
"Ignacio Mariscal",
"execution",
"left",
"General Mariano Escobedo",
"French Revolution",
"Porfirio Díaz"
] |
|
18130_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, explain the One image that sums up the challenges and achievements of Benito Juárez about the Margarita Maza Juárez. | One image that sums up the challenges and achievements of Benito Juárez The image below is located in the center of the entire mural. It represents essential challenges and achievements of Juárez and other Mexican and Oaxacan Liberals before and after Juárez, who saw himself as the embodiment of the lay state. Three of the four documents on the left side of the image above represent the legislative achievements of Liberalism. The Constitution of 1824 is the first republican constitution of the United States of Mexico. El Codigo Civil Oaxacaqueño (1826-1829) was the first civil code in Mexico. The third document, the Constitution of 1857 combined with the Ley Juárez, significantly reduced the power of the Catholic Church and led to the Reform War. The forth document, the Constitution of 1917, the current constitution of Mexico, written during the Mexican Revolution, sits on top of the other documents indicating that they build on each other but the Constitution of 1917 supersedes the others. For the first time the constitution included commitments such as free, mandatory, and secular education.
At the top of the image, the hand of Juárez on a book suggests completion of his work and swearing an oath. The light green pillar reflects the Cantera stone used to build Antequera, earning it the name of Antequera Verde. Liberdad, Igualidad, Fraternidad the Spanish for the rallying cry of the French Revolution places Juárez with the famous progressive thinkers of his era. The sword is the one that Maximilian handed to General Escobedo before his execution. The crown of the Hapsburgs represents Maximilian who was the Second Emperor of Mexico from 1864 until he was executed in1867.
The artificial leg at the bottom of the image above belonged to Antonio de Padua María Severino López de Santa Anna y Pérez de Lebrón (commonly known as Santa Anna) who was a constant thorn in Juárez side. He exiled Juárez to New Orleans, USA in 1853. When Santa Anna lost his leg in battle he used the story to enhance public sympathy, even digging up the amputated part of his leg and holding an elaborate state funeral. | [
"Antequera Verde",
"Emperor",
"Oaxaca",
"Constitution of 1917",
"Maximilian",
"Benito Juárez",
"Ley Juárez",
"Constitution of 1857",
"Emperor of Mexico",
"executed in1867",
"Mexica",
"Cantera",
"Santa Anna",
"New Orleans",
"Reform War",
"United States of Mexico",
"crown",
"Hapsburgs",
"Catholic Church",
"Antequera",
"center",
"Mexican Revolution",
"Juárez to New Orleans",
"mural",
"Constitution of 1824",
"execution",
"left",
"French Revolution"
] |
|
18130_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, explain the One image that sums up the challenges and achievements of Benito Juárez about the Margarita Maza Juárez. | One image that sums up the challenges and achievements of Benito Juárez The image below is located in the center of the entire mural. It represents essential challenges and achievements of Juárez and other Mexican and Oaxacan Liberals before and after Juárez, who saw himself as the embodiment of the lay state. Three of the four documents on the left side of the image above represent the legislative achievements of Liberalism. The Constitution of 1824 is the first republican constitution of the United States of Mexico. El Codigo Civil Oaxacaqueño (1826-1829) was the first civil code in Mexico. The third document, the Constitution of 1857 combined with the Ley Juárez, significantly reduced the power of the Catholic Church and led to the Reform War. The forth document, the Constitution of 1917, the current constitution of Mexico, written during the Mexican Revolution, sits on top of the other documents indicating that they build on each other but the Constitution of 1917 supersedes the others. For the first time the constitution included commitments such as free, mandatory, and secular education.
At the top of the image, the hand of Juárez on a book suggests completion of his work and swearing an oath. The light green pillar reflects the Cantera stone used to build Antequera, earning it the name of Antequera Verde. Liberdad, Igualidad, Fraternidad the Spanish for the rallying cry of the French Revolution places Juárez with the famous progressive thinkers of his era. The sword is the one that Maximilian handed to General Escobedo before his execution. The crown of the Hapsburgs represents Maximilian who was the Second Emperor of Mexico from 1864 until he was executed in1867.
The artificial leg at the bottom of the image above belonged to Antonio de Padua María Severino López de Santa Anna y Pérez de Lebrón (commonly known as Santa Anna) who was a constant thorn in Juárez side. He exiled Juárez to New Orleans, USA in 1853. When Santa Anna lost his leg in battle he used the story to enhance public sympathy, even digging up the amputated part of his leg and holding an elaborate state funeral. | [
"Antequera Verde",
"Emperor",
"Oaxaca",
"Constitution of 1917",
"Maximilian",
"Benito Juárez",
"Ley Juárez",
"Constitution of 1857",
"Emperor of Mexico",
"executed in1867",
"Mexica",
"Cantera",
"Santa Anna",
"New Orleans",
"Reform War",
"United States of Mexico",
"crown",
"Hapsburgs",
"Catholic Church",
"Antequera",
"center",
"Mexican Revolution",
"Juárez to New Orleans",
"mural",
"Constitution of 1824",
"execution",
"left",
"French Revolution"
] |
|
18131_T | Oaxaca en la historia y en el mito | Explore the Santa Anna, the Caudillo of Veracruz (1794-1876) about the Margarita Maza Juárez of the Independence, Reform, Revolution Panel in this artwork, Oaxaca en la historia y en el mito. | Santa Anna, the Caudillo of Veracruz (1794-1876) Mexico struggled after the war of independence and had 50 governments in 30 years. In part Santa Anna led this chaos as president 11 times between the years of 1833 and 1855, serving for various lengths of time. Santa Anna with a power base and an army in Veracruz and used it to wage war and take the reins of power as required, or as he wished. Once again, Santa Anna does not appear in the mural, but García Bustos, always ready to add something mural, included Santa Anna's famous prosthetic leg. | [
"50 governments in 30 years",
"Santa Anna",
"independence",
"Caudillo",
"prosthetic leg",
"mural"
] |
|
18131_NT | Oaxaca en la historia y en el mito | Explore the Santa Anna, the Caudillo of Veracruz (1794-1876) about the Margarita Maza Juárez of the Independence, Reform, Revolution Panel in this artwork. | Santa Anna, the Caudillo of Veracruz (1794-1876) Mexico struggled after the war of independence and had 50 governments in 30 years. In part Santa Anna led this chaos as president 11 times between the years of 1833 and 1855, serving for various lengths of time. Santa Anna with a power base and an army in Veracruz and used it to wage war and take the reins of power as required, or as he wished. Once again, Santa Anna does not appear in the mural, but García Bustos, always ready to add something mural, included Santa Anna's famous prosthetic leg. | [
"50 governments in 30 years",
"Santa Anna",
"independence",
"Caudillo",
"prosthetic leg",
"mural"
] |
|
18132_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, discuss the Government by buggy about the Margarita Maza Juárez. | Government by buggy In the image below, behind Juárez and his supporters, we see a buggy that Juárez drove through the countryside after he was exiled from Mexico City while the Conservatives usurped power during the Second French Intervention. The carriage, a Landau, was known as the "government on wheels". | [
"Second French Intervention",
"Landau",
"Conservative"
] |
|
18132_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, discuss the Government by buggy about the Margarita Maza Juárez. | Government by buggy In the image below, behind Juárez and his supporters, we see a buggy that Juárez drove through the countryside after he was exiled from Mexico City while the Conservatives usurped power during the Second French Intervention. The carriage, a Landau, was known as the "government on wheels". | [
"Second French Intervention",
"Landau",
"Conservative"
] |
|
18133_T | Oaxaca en la historia y en el mito | Regarding Oaxaca en la historia y en el mito, how does the Independence, Reform, Revolution Panel's Margarita Maza Juárez incorporate the Porfirio Díaz, the soldier? | Porfirio Díaz, the soldier In the image above, Porfirio Díaz is the soldier on the extreme right. This depiction resembles a photo from 1867 when he was rising to the rank of general. Porfirio Díaz played a central role in battles in the Reform War and the Second French Intervention. In the Reform War, in the Battle of Oaxaca of 1858, the Conservatives attacked and held Díaz and his soldiers and other leaders in the convents of Santo Domingo, Carmen Alto and Santa Catarina for 19 days before the Oaxacans broke out on January 16 and defeated the conservatives in places such as the present day Zocalo and Llano Park. Major battles took place, with victories for Díaz and his troops on May, 11 and again on August 5, 1860.In the French Intervention the soldiers commanded by Díaz defeated the Imperial army of Maximillian at the Battle of Miahuatlán on October 3, 1866, and the Battle of La Carbonara on October 18, leading to the liberation of Oaxaca City from Imperial troops on October 31. Both battles were decisive, and allowed Díaz troops to completely rearm and prepare for the Third Battle of Puebla of April 2, 1867. These victories, under Díaz also prepared the republican forces to attack Querétaro, take Maximillian prisoner, execute him, and to enter Mexico City without resistance, and restore the Republic, with Juárez as president on July 15, 1867. | [
"Puebla",
"Oaxaca City",
"Oaxaca",
"Second French Intervention",
"Third Battle of Puebla",
"Battle of Miahuatlán",
"Reform War",
"Battle of Puebla",
"restore the Republic",
"La Carbonara",
"Conservative",
"Porfirio Díaz"
] |
|
18133_NT | Oaxaca en la historia y en el mito | Regarding this artwork, how does the Independence, Reform, Revolution Panel's Margarita Maza Juárez incorporate the Porfirio Díaz, the soldier? | Porfirio Díaz, the soldier In the image above, Porfirio Díaz is the soldier on the extreme right. This depiction resembles a photo from 1867 when he was rising to the rank of general. Porfirio Díaz played a central role in battles in the Reform War and the Second French Intervention. In the Reform War, in the Battle of Oaxaca of 1858, the Conservatives attacked and held Díaz and his soldiers and other leaders in the convents of Santo Domingo, Carmen Alto and Santa Catarina for 19 days before the Oaxacans broke out on January 16 and defeated the conservatives in places such as the present day Zocalo and Llano Park. Major battles took place, with victories for Díaz and his troops on May, 11 and again on August 5, 1860.In the French Intervention the soldiers commanded by Díaz defeated the Imperial army of Maximillian at the Battle of Miahuatlán on October 3, 1866, and the Battle of La Carbonara on October 18, leading to the liberation of Oaxaca City from Imperial troops on October 31. Both battles were decisive, and allowed Díaz troops to completely rearm and prepare for the Third Battle of Puebla of April 2, 1867. These victories, under Díaz also prepared the republican forces to attack Querétaro, take Maximillian prisoner, execute him, and to enter Mexico City without resistance, and restore the Republic, with Juárez as president on July 15, 1867. | [
"Puebla",
"Oaxaca City",
"Oaxaca",
"Second French Intervention",
"Third Battle of Puebla",
"Battle of Miahuatlán",
"Reform War",
"Battle of Puebla",
"restore the Republic",
"La Carbonara",
"Conservative",
"Porfirio Díaz"
] |
|
18134_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, analyze the Porfirio Díaz, the politician about the Margarita Maza Juárez. | Porfirio Díaz, the politician Following his military success, Díaz sought political power. After 1867, with Juárez back as president, Díaz went on the attack because the constitution permitted only one term as president. In 1870 Díaz ran against Juárez and lost. He challenged that the election was rigged and eventually encouraged rebellions against Juárez, which failed. Through a series of rebellions, after Juárez died and his successor Ledo had served, Díaz became president in 1877. | [
"Porfirio Díaz"
] |
|
18134_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, analyze the Porfirio Díaz, the politician about the Margarita Maza Juárez. | Porfirio Díaz, the politician Following his military success, Díaz sought political power. After 1867, with Juárez back as president, Díaz went on the attack because the constitution permitted only one term as president. In 1870 Díaz ran against Juárez and lost. He challenged that the election was rigged and eventually encouraged rebellions against Juárez, which failed. Through a series of rebellions, after Juárez died and his successor Ledo had served, Díaz became president in 1877. | [
"Porfirio Díaz"
] |
|
18135_T | Oaxaca en la historia y en el mito | When looking at the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, how do you discuss its Margarita Maza Juárez's Industrial expansion? | Industrial expansion At the top the image below we see images relating to industrial expansion that occurred in Mexico during the dictatorship of Porfirio Díaz. Electricity towers, oil refinery, shipping. Below it is a space devoted to the reaction to the industrialization and the poverty of the masses. And on the left we see images of post-revolutionary leaders. | [
"left",
"Porfirio Díaz"
] |
|
18135_NT | Oaxaca en la historia y en el mito | When looking at the Independence, Reform, Revolution Panel of this artwork, how do you discuss its Margarita Maza Juárez's Industrial expansion? | Industrial expansion At the top the image below we see images relating to industrial expansion that occurred in Mexico during the dictatorship of Porfirio Díaz. Electricity towers, oil refinery, shipping. Below it is a space devoted to the reaction to the industrialization and the poverty of the masses. And on the left we see images of post-revolutionary leaders. | [
"left",
"Porfirio Díaz"
] |
|
18136_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, explore the Accomplishments of the Díaz presidency about the Margarita Maza Juárez. | Accomplishments of the Díaz presidency While the Juárez presidency is noted for establishing liberal legislation, the Díaz regime is known for economic progress. Some of the achievements are 800 kilometers of railways, 20,000 kilometers of telegraph lines, and 1,200 post offices. In addition, Díaz brought the telephone and electricity to Oaxaca and elsewhere in Mexico. | [
"Oaxaca"
] |
|
18136_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, explore the Accomplishments of the Díaz presidency about the Margarita Maza Juárez. | Accomplishments of the Díaz presidency While the Juárez presidency is noted for establishing liberal legislation, the Díaz regime is known for economic progress. Some of the achievements are 800 kilometers of railways, 20,000 kilometers of telegraph lines, and 1,200 post offices. In addition, Díaz brought the telephone and electricity to Oaxaca and elsewhere in Mexico. | [
"Oaxaca"
] |
|
18137_T | Oaxaca en la historia y en el mito | In the context of Oaxaca en la historia y en el mito, explain the The Mexican Revolution, (1910-21) of the Independence, Reform, Revolution Panel. | In the image below, from the left side of the middle panel of the mural at the top, we see evidence of industrialization, on the right is the reaction of leaders like Ricardo Flores Magón. The middle is occupied by the politician Francisco I. Madero and José Maria Pino Suárez. Further left are leading thinkers from Oaxaca, of the post revolutionary period, José Vasconcelos, Andrés Henestrosa and Nazario Chacón. | [
"Ricardo Flores Magón",
"Oaxaca",
"Suárez",
"José Vasconcelos",
"Madero",
"Mexica",
"Francisco I. Madero",
"José Maria Pino Suárez",
"The Mexican Revolution",
"Mexican Revolution",
"Andrés Henestrosa",
"mural",
"left"
] |
|
18137_NT | Oaxaca en la historia y en el mito | In the context of this artwork, explain the The Mexican Revolution, (1910-21) of the Independence, Reform, Revolution Panel. | In the image below, from the left side of the middle panel of the mural at the top, we see evidence of industrialization, on the right is the reaction of leaders like Ricardo Flores Magón. The middle is occupied by the politician Francisco I. Madero and José Maria Pino Suárez. Further left are leading thinkers from Oaxaca, of the post revolutionary period, José Vasconcelos, Andrés Henestrosa and Nazario Chacón. | [
"Ricardo Flores Magón",
"Oaxaca",
"Suárez",
"José Vasconcelos",
"Madero",
"Mexica",
"Francisco I. Madero",
"José Maria Pino Suárez",
"The Mexican Revolution",
"Mexican Revolution",
"Andrés Henestrosa",
"mural",
"left"
] |
|
18138_T | Oaxaca en la historia y en el mito | Explore the Ricardo Flores Magón (1874–1922) about the The Mexican Revolution, (1910-21) of the Independence, Reform, Revolution Panel in this artwork, Oaxaca en la historia y en el mito. | Ricardo Flores Magón (1874–1922) Two images of Ricardo Flores Magón appear on the mural. He appears in the image above on the right side. The Zapata rallying cry Tierra y Liberdade appears on his left, underlining Flores Magón's siding with the rural movement led by Emiliano Zapata. Flores Magón also appears as a large floating head on the panel, as discussed below.Ricardo Flores Magón was born in the independent indigenous community, San Antonio Eloxochitlán, Oaxaca, now known as Eloxochitlán de Flores Magón. It is 233 kilometers from Oaxaca City almost halfway between Oaxaca City and Mexico City. Richard Flores Magón, was a thought leader of the Mexican Revolution, an anarchist and the creator of Regeneración along with his brothers Enrique and Jesús. And to his right, devils appear to taunt Flores Magón and below him, peace doves he holds the text that we see more clearly.The text says in Spanish:
Palabras a los Mexicanos
"El Reloj de la Historia está proximo a senalar, con su aguja inexorable, el instante en que de produicir la muerte de una sociedad agonize. El imperio del capital se derrumba por todos partes. Ha sonado la hora de la justicia para los desheredados. Si no has oído su vibración intensa, ¡Tanto peor para ti!”
Or in English:
Words to Mexicans
"The Clock of History is about to mark, with its inexorable needle, the moment in which it will bring about the death of a dying society. The empire of capital is collapsing everywhere. The hour of justice has struck. for the disinherited. If you have not heard its intense vibration, so much the worse for you! " | [
"Ricardo Flores Magón",
"Oaxaca City",
"Oaxaca",
"English",
"Words to Mexicans",
"Mexica",
"Emiliano Zapata",
"Zapata",
"anarchist",
"Mexican Revolution",
"mural",
"left",
"Regeneración"
] |
|
18138_NT | Oaxaca en la historia y en el mito | Explore the Ricardo Flores Magón (1874–1922) about the The Mexican Revolution, (1910-21) of the Independence, Reform, Revolution Panel in this artwork. | Ricardo Flores Magón (1874–1922) Two images of Ricardo Flores Magón appear on the mural. He appears in the image above on the right side. The Zapata rallying cry Tierra y Liberdade appears on his left, underlining Flores Magón's siding with the rural movement led by Emiliano Zapata. Flores Magón also appears as a large floating head on the panel, as discussed below.Ricardo Flores Magón was born in the independent indigenous community, San Antonio Eloxochitlán, Oaxaca, now known as Eloxochitlán de Flores Magón. It is 233 kilometers from Oaxaca City almost halfway between Oaxaca City and Mexico City. Richard Flores Magón, was a thought leader of the Mexican Revolution, an anarchist and the creator of Regeneración along with his brothers Enrique and Jesús. And to his right, devils appear to taunt Flores Magón and below him, peace doves he holds the text that we see more clearly.The text says in Spanish:
Palabras a los Mexicanos
"El Reloj de la Historia está proximo a senalar, con su aguja inexorable, el instante en que de produicir la muerte de una sociedad agonize. El imperio del capital se derrumba por todos partes. Ha sonado la hora de la justicia para los desheredados. Si no has oído su vibración intensa, ¡Tanto peor para ti!”
Or in English:
Words to Mexicans
"The Clock of History is about to mark, with its inexorable needle, the moment in which it will bring about the death of a dying society. The empire of capital is collapsing everywhere. The hour of justice has struck. for the disinherited. If you have not heard its intense vibration, so much the worse for you! " | [
"Ricardo Flores Magón",
"Oaxaca City",
"Oaxaca",
"English",
"Words to Mexicans",
"Mexica",
"Emiliano Zapata",
"Zapata",
"anarchist",
"Mexican Revolution",
"mural",
"left",
"Regeneración"
] |
|
18139_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, discuss the The Importance of Ricardo Flores Magón for Arturo García Bustos and others about the The Mexican Revolution, (1910-21). | = The Importance of Ricardo Flores Magón for Arturo García Bustos and others Arturo García Bustos placed a head of Ricardo Flores Magón at the same level as Benito Juárez, Margaret Maza and José Maria Morelos, indicating that for him, Ricardo Flores Magón was a major player in the history of Oaxaca and Mexico. García Bustos was an active member of communist and socialist groups, especially those associated with artists such as the Taller de Gráfica Popular. His travels led him to East Germany, Cuba and Guatemala where he learned about international socialist movements including the Russian sponsored World Peace Council. So understandably a Mexican communist thought leader, born in Oaxaca, was an important subject for García Bustos. Flores also appears prominently in the famous murals of Diego Rivera, David Alfaro Siqueiros and others. Over the years, various images of Flores Magón have been used to reflect the state version of moderate socialism, not the anarchist views of Flores Magón expressed above in Palabras a los Mexicanos. | [
"Ricardo Flores Magón",
"Arturo García Bustos",
"Oaxaca",
"World",
"Benito Juárez",
"Mexica",
"World Peace Council",
"Diego Rivera",
"Taller de Gráfica Popular",
"Morelos",
"anarchist",
"mural"
] |
|
18139_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, discuss the The Importance of Ricardo Flores Magón for Arturo García Bustos and others about the The Mexican Revolution, (1910-21). | = The Importance of Ricardo Flores Magón for Arturo García Bustos and others Arturo García Bustos placed a head of Ricardo Flores Magón at the same level as Benito Juárez, Margaret Maza and José Maria Morelos, indicating that for him, Ricardo Flores Magón was a major player in the history of Oaxaca and Mexico. García Bustos was an active member of communist and socialist groups, especially those associated with artists such as the Taller de Gráfica Popular. His travels led him to East Germany, Cuba and Guatemala where he learned about international socialist movements including the Russian sponsored World Peace Council. So understandably a Mexican communist thought leader, born in Oaxaca, was an important subject for García Bustos. Flores also appears prominently in the famous murals of Diego Rivera, David Alfaro Siqueiros and others. Over the years, various images of Flores Magón have been used to reflect the state version of moderate socialism, not the anarchist views of Flores Magón expressed above in Palabras a los Mexicanos. | [
"Ricardo Flores Magón",
"Arturo García Bustos",
"Oaxaca",
"World",
"Benito Juárez",
"Mexica",
"World Peace Council",
"Diego Rivera",
"Taller de Gráfica Popular",
"Morelos",
"anarchist",
"mural"
] |
|
18140_T | Oaxaca en la historia y en el mito | Regarding Oaxaca en la historia y en el mito, how does the Independence, Reform, Revolution Panel's The Mexican Revolution, (1910-21) incorporate the Francisco Ignacio Madero González (1873-1913) and José María Pino Suárez (1869-1913)? | Francisco Ignacio Madero González (1873-1913) and José María Pino Suárez (1869-1913) Madero and Suárez are located on the left side of the Independence, Reform, Revolution Panel. They were not born in Oaxaca and they have little direct association with the history of Oaxaca. However, Madero is an important figure in Mexican history because he challenged Porfirio Díaz in the 1910 election. Díaz declared himself victorious for an eighth term in what amounted to another rigged election. In 1911 Madero was elected in a landslide and sworn into office on 6 November 1911. Generals Félix Díaz (a Oaxacan nephew of Porfirio Díaz of Oaxaca), led a coup supported by United States ambassador Henry Lane Wilson. Madero was captured and assassinated along with vice-president Pino Suárez in a series of events now called the Ten Tragic Days, The ensuing chaos impacted Oaxaca as we will see below. | [
"Oaxaca",
"Suárez",
"Félix Díaz",
"Madero",
"Henry Lane Wilson",
"was elected",
"Francisco Ignacio Madero",
"Mexica",
"1910 election",
"rigged election",
"Ten Tragic Days",
"Independence",
"José María Pino Suárez",
"left",
"Porfirio Díaz"
] |
|
18140_NT | Oaxaca en la historia y en el mito | Regarding this artwork, how does the Independence, Reform, Revolution Panel's The Mexican Revolution, (1910-21) incorporate the Francisco Ignacio Madero González (1873-1913) and José María Pino Suárez (1869-1913)? | Francisco Ignacio Madero González (1873-1913) and José María Pino Suárez (1869-1913) Madero and Suárez are located on the left side of the Independence, Reform, Revolution Panel. They were not born in Oaxaca and they have little direct association with the history of Oaxaca. However, Madero is an important figure in Mexican history because he challenged Porfirio Díaz in the 1910 election. Díaz declared himself victorious for an eighth term in what amounted to another rigged election. In 1911 Madero was elected in a landslide and sworn into office on 6 November 1911. Generals Félix Díaz (a Oaxacan nephew of Porfirio Díaz of Oaxaca), led a coup supported by United States ambassador Henry Lane Wilson. Madero was captured and assassinated along with vice-president Pino Suárez in a series of events now called the Ten Tragic Days, The ensuing chaos impacted Oaxaca as we will see below. | [
"Oaxaca",
"Suárez",
"Félix Díaz",
"Madero",
"Henry Lane Wilson",
"was elected",
"Francisco Ignacio Madero",
"Mexica",
"1910 election",
"rigged election",
"Ten Tragic Days",
"Independence",
"José María Pino Suárez",
"left",
"Porfirio Díaz"
] |
|
18141_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, analyze the The Mexican Revolution in Oaxaca about the The Mexican Revolution, (1910-21). | The Mexican Revolution in Oaxaca Francisco Ignacio Madero visited Oaxaca in December, 1909 to rally support for his bid at the presidency. In 1911, as President of Mexico, Madero gained support in Oaxaca from Governor Benito Juárez Maza, the son of Benito Juárez Garcia.In Oaxaca, during the Mexican Revolution, especially initially, the battles and the chaos was in the political system. Between December 1910 and June 1915, the government of Oaxaca changed 33 times, with 16 different governors. There were many factions, including Maderistas, one of 14 factions. supporting Francisco Ignacio Madero González. Recent studies reveal that the Maderista movements in Oaxaca was not rural but middle class, seeking social mobility, and greater local autonomy. Evidence of at least one rural uprising in Oaxaca was in line with rebellions in other parts of Mexico. Maderistas from Guerrero, led Mixtec peasants of Pinotepa Nacional, Oaxaca, to revolt on 18 May 1911. They demanded the return of their ancient communal lands. The revolt was not successful and the leaders were executed. In 1915 after President Carranza suspended the constitution, the State of Oaxaca declared itself a free and sovereign state. | [
"Oaxaca",
"Madero",
"Benito Juárez",
"Mixtec",
"one of 14 factions",
"President of Mexico",
"Francisco Ignacio Madero",
"Mexica",
"Benito Juárez Maza",
"Pinotepa Nacional",
"The Mexican Revolution",
"Maderistas",
"Mexican Revolution"
] |
|
18141_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, analyze the The Mexican Revolution in Oaxaca about the The Mexican Revolution, (1910-21). | The Mexican Revolution in Oaxaca Francisco Ignacio Madero visited Oaxaca in December, 1909 to rally support for his bid at the presidency. In 1911, as President of Mexico, Madero gained support in Oaxaca from Governor Benito Juárez Maza, the son of Benito Juárez Garcia.In Oaxaca, during the Mexican Revolution, especially initially, the battles and the chaos was in the political system. Between December 1910 and June 1915, the government of Oaxaca changed 33 times, with 16 different governors. There were many factions, including Maderistas, one of 14 factions. supporting Francisco Ignacio Madero González. Recent studies reveal that the Maderista movements in Oaxaca was not rural but middle class, seeking social mobility, and greater local autonomy. Evidence of at least one rural uprising in Oaxaca was in line with rebellions in other parts of Mexico. Maderistas from Guerrero, led Mixtec peasants of Pinotepa Nacional, Oaxaca, to revolt on 18 May 1911. They demanded the return of their ancient communal lands. The revolt was not successful and the leaders were executed. In 1915 after President Carranza suspended the constitution, the State of Oaxaca declared itself a free and sovereign state. | [
"Oaxaca",
"Madero",
"Benito Juárez",
"Mixtec",
"one of 14 factions",
"President of Mexico",
"Francisco Ignacio Madero",
"Mexica",
"Benito Juárez Maza",
"Pinotepa Nacional",
"The Mexican Revolution",
"Maderistas",
"Mexican Revolution"
] |
|
18142_T | Oaxaca en la historia y en el mito | When looking at the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, how do you discuss its The Mexican Revolution, (1910-21)'s Oaxacan Leaders, post-revolutionary period? | Oaxacan Leaders, post-revolutionary period On the left side of the panel, beside the images of Madero and Suárez, the artist placed three Mexican leaders from Oaxacan, Nazario Chacon Pineda Andrés Henestrosa Morales, and José Vasconcelos Calderón. In the image below, Nazario Chacon is the less visible. Andres Henestrosa is in the middle and José Vasconcelos Calderón is in front. Each left his mark on Mexico in a different way. | [
"Oaxaca",
"Suárez",
"José Vasconcelos",
"Madero",
"José Vasconcelos Calderón",
"Mexica",
"Andrés Henestrosa Morales",
"Andrés Henestrosa",
"left"
] |
|
18142_NT | Oaxaca en la historia y en el mito | When looking at the Independence, Reform, Revolution Panel of this artwork, how do you discuss its The Mexican Revolution, (1910-21)'s Oaxacan Leaders, post-revolutionary period? | Oaxacan Leaders, post-revolutionary period On the left side of the panel, beside the images of Madero and Suárez, the artist placed three Mexican leaders from Oaxacan, Nazario Chacon Pineda Andrés Henestrosa Morales, and José Vasconcelos Calderón. In the image below, Nazario Chacon is the less visible. Andres Henestrosa is in the middle and José Vasconcelos Calderón is in front. Each left his mark on Mexico in a different way. | [
"Oaxaca",
"Suárez",
"José Vasconcelos",
"Madero",
"José Vasconcelos Calderón",
"Mexica",
"Andrés Henestrosa Morales",
"Andrés Henestrosa",
"left"
] |
|
18143_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, explore the Nazario Chacon Pineda (1916-1994) about the The Mexican Revolution, (1910-21). | = Nazario Chacon Pineda (1916-1994) Nazario Chacon was a poet from Juchitán de Zaragoza, a city in the Istmo de Tehuantepec region of Oaxaca. Chacon Pineda wrote lyrical poetry in his rfegional version of Zapotec, which is a richly poetic language. Zapotec is the oldest written language in the Americas and there are 57 variations according to some linguists, and although the version spoken by Nazario Chacon is only spoken by some 100,000 people, it is considered a Mexican national treasure. Here is an example of his poetry in Spanish and English which, while it does not reflect the music of the Zapotec language, it does nevertheless illustrate the authors deep connection with nature.
Flor de los olivos
Si al acercar los oídos al caracol primitivo,
el viento propagara repetida, la queja
niña del amor de los orígenes, nacida
en la impalpable espina del martirio,
la ola agitaría el mar del sentimiento,
la minúscula barca del sentido;
presto al pulso y al latido inusitado,
semejante al anhelo y al delirio.
olive flower
If by bringing your ears closer to the primitive conch shell,
the wind will propagate repeated, the complaint
origins love girl, born
on the impalpable thorn of martyrdom,
the wave would shake the sea of feeling,
the tiny boat of meaning;
quick to the pulse and the unusual heartbeat,
akin to longing and delirium.
. . . | [
"Oaxaca",
"English",
"Mexica",
"Zapotec",
"Istmo de Tehuantepec",
"Juchitán de Zaragoza",
"written language",
"lyrical poetry"
] |
|
18143_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, explore the Nazario Chacon Pineda (1916-1994) about the The Mexican Revolution, (1910-21). | = Nazario Chacon Pineda (1916-1994) Nazario Chacon was a poet from Juchitán de Zaragoza, a city in the Istmo de Tehuantepec region of Oaxaca. Chacon Pineda wrote lyrical poetry in his rfegional version of Zapotec, which is a richly poetic language. Zapotec is the oldest written language in the Americas and there are 57 variations according to some linguists, and although the version spoken by Nazario Chacon is only spoken by some 100,000 people, it is considered a Mexican national treasure. Here is an example of his poetry in Spanish and English which, while it does not reflect the music of the Zapotec language, it does nevertheless illustrate the authors deep connection with nature.
Flor de los olivos
Si al acercar los oídos al caracol primitivo,
el viento propagara repetida, la queja
niña del amor de los orígenes, nacida
en la impalpable espina del martirio,
la ola agitaría el mar del sentimiento,
la minúscula barca del sentido;
presto al pulso y al latido inusitado,
semejante al anhelo y al delirio.
olive flower
If by bringing your ears closer to the primitive conch shell,
the wind will propagate repeated, the complaint
origins love girl, born
on the impalpable thorn of martyrdom,
the wave would shake the sea of feeling,
the tiny boat of meaning;
quick to the pulse and the unusual heartbeat,
akin to longing and delirium.
. . . | [
"Oaxaca",
"English",
"Mexica",
"Zapotec",
"Istmo de Tehuantepec",
"Juchitán de Zaragoza",
"written language",
"lyrical poetry"
] |
|
18144_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, explain the Andrés Henestrosa Morales (1906-2008) about the The Mexican Revolution, (1910-21). | = Andrés Henestrosa Morales (1906-2008) Andrés Henestrosa Morales was born in Ixhuatán, Oaxaca. He was a leader in the realm of Mexican Literature and politician. In addition to his prose and poetry, Henestrosa was elected to the federal legislature, serving three terms in the Chamber of Deputies, as a senator representing the state of Oaxaca from 1982 to 1988. | [
"Oaxaca",
"Chamber of Deputies",
"senator",
"was elected",
"Mexica",
"Andrés Henestrosa Morales",
"Ixhuatán, Oaxaca",
"Mexican Literature",
"Andrés Henestrosa",
"federal legislature"
] |
|
18144_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, explain the Andrés Henestrosa Morales (1906-2008) about the The Mexican Revolution, (1910-21). | = Andrés Henestrosa Morales (1906-2008) Andrés Henestrosa Morales was born in Ixhuatán, Oaxaca. He was a leader in the realm of Mexican Literature and politician. In addition to his prose and poetry, Henestrosa was elected to the federal legislature, serving three terms in the Chamber of Deputies, as a senator representing the state of Oaxaca from 1982 to 1988. | [
"Oaxaca",
"Chamber of Deputies",
"senator",
"was elected",
"Mexica",
"Andrés Henestrosa Morales",
"Ixhuatán, Oaxaca",
"Mexican Literature",
"Andrés Henestrosa",
"federal legislature"
] |
|
18145_T | Oaxaca en la historia y en el mito | Explore the José Vasconcelos Calderón (1882–1959) about the The Mexican Revolution, (1910-21) of the Independence, Reform, Revolution Panel in this artwork, Oaxaca en la historia y en el mito. | = José Vasconcelos Calderón (1882–1959) We referred to José Vasconcelos at the beginning of this Wikipedia article under the background section because he was the government official who is credited with initiating the project to create public art like the murals of Diego Rivera.
In the image above, the text above the heads of the three men was authored by Vasconcelos. The text is a shortened version of the following:
“El cargo que ocupo me pone en el deber de hacerme intérprete de las aspiraciones populares, y en nombre de ese pueblo que me envía os pido a vosotros, y junto con vosotros a todos los intelectuales de México, que salgáis de vuestras torres de marfil para sellar pacto de alianza con la Revolución. Alianza para la obra de redimirnos mediante el trabajo, la virtud y el saber. El país ha menester de vosotros. La Revolución ya no quiere, como en sus días de extravío, cerrar las escuelas y perseguir a los sabios”
The above, translated, by machine, into English is:
“The position I occupy puts me in the duty of becoming an interpreter of popular aspirations, and on behalf of that people that sends me, I ask you, and together with you all the intellectuals of Mexico, to come out of your ivory towers. to seal an alliance pact with the Revolution. Alliance for the work of redeeming ourselves through work, virtue and knowledge. The country needs you. The Revolution no longer wants, as in its days of misguidance, to close the schools and persecute the wise.”
José Vasconcelos was born in Oaxaca, Oaxaca. In his youth his family moved to Piedras Negras, Coahuila, a border town where he attended school in Eagle Pass, Texas. As a result, he became fluently bilingual in Spanish and English and moved freely, working and writing in the English-speaking world. He developed a theory that Mexicans could become a fifth "cosmic race", a new superior civilization built on the genes of existing civilizations flowing through the veins of Mexicans. In 1924 he ran for governor of Oaxaca and lost in a disputed election. He ran in the 1929 Mexican presidential election, was defeated, claimed the results were rigged and developed his call to insurrection in his "Plan de Guaymas". The eminent historian Enrique Krauze, who is cited in several places in this article, claims that Vasconcelos would have won if the election had not been rigged in favour of Pascual Ortiz Rubio. | [
"cosmic race",
"Oaxaca",
"Enrique Krauze",
"Eagle Pass, Texas",
"José Vasconcelos",
"Piedras Negras, Coahuila",
"English",
"José Vasconcelos Calderón",
"Mexica",
"Diego Rivera",
"1929 Mexican presidential election",
"Plan de Guaymas",
"Pascual Ortiz Rubio",
"mural",
"Oaxaca, Oaxaca"
] |
|
18145_NT | Oaxaca en la historia y en el mito | Explore the José Vasconcelos Calderón (1882–1959) about the The Mexican Revolution, (1910-21) of the Independence, Reform, Revolution Panel in this artwork. | = José Vasconcelos Calderón (1882–1959) We referred to José Vasconcelos at the beginning of this Wikipedia article under the background section because he was the government official who is credited with initiating the project to create public art like the murals of Diego Rivera.
In the image above, the text above the heads of the three men was authored by Vasconcelos. The text is a shortened version of the following:
“El cargo que ocupo me pone en el deber de hacerme intérprete de las aspiraciones populares, y en nombre de ese pueblo que me envía os pido a vosotros, y junto con vosotros a todos los intelectuales de México, que salgáis de vuestras torres de marfil para sellar pacto de alianza con la Revolución. Alianza para la obra de redimirnos mediante el trabajo, la virtud y el saber. El país ha menester de vosotros. La Revolución ya no quiere, como en sus días de extravío, cerrar las escuelas y perseguir a los sabios”
The above, translated, by machine, into English is:
“The position I occupy puts me in the duty of becoming an interpreter of popular aspirations, and on behalf of that people that sends me, I ask you, and together with you all the intellectuals of Mexico, to come out of your ivory towers. to seal an alliance pact with the Revolution. Alliance for the work of redeeming ourselves through work, virtue and knowledge. The country needs you. The Revolution no longer wants, as in its days of misguidance, to close the schools and persecute the wise.”
José Vasconcelos was born in Oaxaca, Oaxaca. In his youth his family moved to Piedras Negras, Coahuila, a border town where he attended school in Eagle Pass, Texas. As a result, he became fluently bilingual in Spanish and English and moved freely, working and writing in the English-speaking world. He developed a theory that Mexicans could become a fifth "cosmic race", a new superior civilization built on the genes of existing civilizations flowing through the veins of Mexicans. In 1924 he ran for governor of Oaxaca and lost in a disputed election. He ran in the 1929 Mexican presidential election, was defeated, claimed the results were rigged and developed his call to insurrection in his "Plan de Guaymas". The eminent historian Enrique Krauze, who is cited in several places in this article, claims that Vasconcelos would have won if the election had not been rigged in favour of Pascual Ortiz Rubio. | [
"cosmic race",
"Oaxaca",
"Enrique Krauze",
"Eagle Pass, Texas",
"José Vasconcelos",
"Piedras Negras, Coahuila",
"English",
"José Vasconcelos Calderón",
"Mexica",
"Diego Rivera",
"1929 Mexican presidential election",
"Plan de Guaymas",
"Pascual Ortiz Rubio",
"mural",
"Oaxaca, Oaxaca"
] |
|
18146_T | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, discuss the The Cristero War in Oaxaca (1926–29) about the The Mexican Revolution, (1910-21). | = The Cristero War in Oaxaca (1926–29) There do not seem to be any clear references on the mural to the Cristero Wars in Oaxaca. There was little confrontation between the government and the Church in Oaxaca during the Cristero Wars because of a gentleman's agreement between the local government and the Church designed to avoid bloodshed. However, there was some conflict. On October 10, 1928, the Catholic rebels liberators ambushed a party of soldiers, killing 21. On December 18 they kill another 12 soldiers.
Of the five civil wars reviewed here: War of Independence (1810–21), War of Reform (1857-60), the Second French Invasion, (1861–67) the Mexican Revolution, (1910-21), it was the Cristero War (1926–29) that had less impact on Oaxaca. | [
"Oaxaca",
"civil war",
"Mexica",
"War of Reform",
"War of Independence",
"Independence",
"Second French Invasion",
"Cristero War",
"Mexican Revolution",
"mural"
] |
|
18146_NT | Oaxaca en la historia y en el mito | Focusing on the Independence, Reform, Revolution Panel of this artwork, discuss the The Cristero War in Oaxaca (1926–29) about the The Mexican Revolution, (1910-21). | = The Cristero War in Oaxaca (1926–29) There do not seem to be any clear references on the mural to the Cristero Wars in Oaxaca. There was little confrontation between the government and the Church in Oaxaca during the Cristero Wars because of a gentleman's agreement between the local government and the Church designed to avoid bloodshed. However, there was some conflict. On October 10, 1928, the Catholic rebels liberators ambushed a party of soldiers, killing 21. On December 18 they kill another 12 soldiers.
Of the five civil wars reviewed here: War of Independence (1810–21), War of Reform (1857-60), the Second French Invasion, (1861–67) the Mexican Revolution, (1910-21), it was the Cristero War (1926–29) that had less impact on Oaxaca. | [
"Oaxaca",
"civil war",
"Mexica",
"War of Reform",
"War of Independence",
"Independence",
"Second French Invasion",
"Cristero War",
"Mexican Revolution",
"mural"
] |
|
18147_T | Oaxaca en la historia y en el mito | In Oaxaca en la historia y en el mito, how is the A jubilant parade of the Independence, Reform, Revolution Panel elucidated? | The artist depicts musical instruments on all three panels, as music is an important aspect of the culture of Oaxaca. The bottom left corner of the middle panel illustrates a parade with brass instruments, colorful Huipil blouses of the Isthmus of Tehuantepec, and a flute player. He wears purple, the color representing the conservative militia of the War of Independence (1810-1821). | [
"Oaxaca",
"War of Independence",
"Independence",
"Isthmus of Tehuantepec",
"left",
"Huipil"
] |
|
18147_NT | Oaxaca en la historia y en el mito | In this artwork, how is the A jubilant parade of the Independence, Reform, Revolution Panel elucidated? | The artist depicts musical instruments on all three panels, as music is an important aspect of the culture of Oaxaca. The bottom left corner of the middle panel illustrates a parade with brass instruments, colorful Huipil blouses of the Isthmus of Tehuantepec, and a flute player. He wears purple, the color representing the conservative militia of the War of Independence (1810-1821). | [
"Oaxaca",
"War of Independence",
"Independence",
"Isthmus of Tehuantepec",
"left",
"Huipil"
] |
|
18148_T | Oaxaca en la historia y en el mito | In the context of Oaxaca en la historia y en el mito, analyze the Conclusion of the Independence, Reform, Revolution Panel. | Oaxaca has a rich and varied history. Constant conflict between liberal and conservative values has frequently surfaced, contributing to five civil wars and sometimes chaotic politics. National leaders such as José Vasconcelos, Porfirio Díaz and Benito Juarez, all with Oaxacan roots provided leadership in times of turmoil. In the mural Garcia Bustos portrays the conflicts that have risen in Oaxaca, from a liberal perspective, for example focusing on the deeds of Benito Juárez rather than Porfirio Díaz. Although both men were Liberals with a capital "L". Juárez was more a small "l" liberal than Díaz. | [
"Oaxaca",
"José Vasconcelos",
"civil war",
"Benito Juárez",
"mural",
"Porfirio Díaz"
] |
|
18148_NT | Oaxaca en la historia y en el mito | In the context of this artwork, analyze the Conclusion of the Independence, Reform, Revolution Panel. | Oaxaca has a rich and varied history. Constant conflict between liberal and conservative values has frequently surfaced, contributing to five civil wars and sometimes chaotic politics. National leaders such as José Vasconcelos, Porfirio Díaz and Benito Juarez, all with Oaxacan roots provided leadership in times of turmoil. In the mural Garcia Bustos portrays the conflicts that have risen in Oaxaca, from a liberal perspective, for example focusing on the deeds of Benito Juárez rather than Porfirio Díaz. Although both men were Liberals with a capital "L". Juárez was more a small "l" liberal than Díaz. | [
"Oaxaca",
"José Vasconcelos",
"civil war",
"Benito Juárez",
"mural",
"Porfirio Díaz"
] |
|
18149_T | Statue of Albrecht von Roon | In Statue of Albrecht von Roon, how is the abstract discussed? | The statue of Albrecht von Roon (German: Roon-Denkmal) is an outdoor 1904 monument to Albrecht von Roon by Harro Magnusson, installed in Tiergarten in Berlin, Germany. | [
"Harro Magnusson",
"Tiergarten",
"Albrecht von Roon",
"Berlin"
] |
|
18149_NT | Statue of Albrecht von Roon | In this artwork, how is the abstract discussed? | The statue of Albrecht von Roon (German: Roon-Denkmal) is an outdoor 1904 monument to Albrecht von Roon by Harro Magnusson, installed in Tiergarten in Berlin, Germany. | [
"Harro Magnusson",
"Tiergarten",
"Albrecht von Roon",
"Berlin"
] |
|
18150_T | Tulip to Life | Focus on Tulip to Life and explore the abstract. | Tulip to Life is a public artwork located on the grounds of the Indiana Government Center South in Indianapolis, Indiana, United States. The functional sculpture is a drinking fountain made of stainless steel in the shape of a tulip tree leaf. Designed by Eric Ernstberger of Muncie, Indiana, and fabricated by Tarpenning-LaFollette of Indianapolis, Indiana, the sculpture was installed in 1991. | [
"Indianapolis",
"sculpture",
"drinking fountain",
"Indiana Government Center South",
"leaf",
"United States",
"Indiana",
"stainless steel",
"public art",
"Muncie, Indiana",
"Eric Ernstberger",
"Muncie"
] |
|
18150_NT | Tulip to Life | Focus on this artwork and explore the abstract. | Tulip to Life is a public artwork located on the grounds of the Indiana Government Center South in Indianapolis, Indiana, United States. The functional sculpture is a drinking fountain made of stainless steel in the shape of a tulip tree leaf. Designed by Eric Ernstberger of Muncie, Indiana, and fabricated by Tarpenning-LaFollette of Indianapolis, Indiana, the sculpture was installed in 1991. | [
"Indianapolis",
"sculpture",
"drinking fountain",
"Indiana Government Center South",
"leaf",
"United States",
"Indiana",
"stainless steel",
"public art",
"Muncie, Indiana",
"Eric Ernstberger",
"Muncie"
] |
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