David Alfaro Siqueiros (1896 -1973) was one of the "Big Three" of the Mexican Mural Movement of the early 1900s. While little is said of his work from this era (compared with the amount that has been said of Diego Rivera or Jose Clemente Orozco -- the other two of the Three), Siqueiros has been seen as one of the ideological leaders of the movement as well as of a number of other politically fueled mural movements to come.

His most notable contribution to the development of murals in this era is an article he wrote for El Machete, an influential newspaper produced for the Mexican artists' union. In this article, he tied art to the socialist cause, deploring "easel painting" and other forms of "elitist" art that served the sole purpose of creating luxury items for the enjoyment of a bourgeoisie upper class, effectively promoting the class divide. Instead, he insisted that art should be meaningful and monumental and speak to the people at large. As a result, he proposed that public art such as government-funded murals represented the purest art form.

These ideas were so influential as to spread to the Nicaraguan revolution of 1979. In the wake of this (once again, largely socialist) revolution, the people again turned to mural painting as a way of binding formerly disenfranchised Nicaraguans together and helping to create a new national identity. One of the first major mural groups to pop up in Nicaragua was founded under the title of the "David Siqueiros National School of Monumental and Public Art" which looked to spread Siqueiros' ideals as a model for Nicaraguan muralism.

Siqueiros completed significant mural projects in the Mexican Colegio Chico and the Electricians' Syndicate, as well as in Los Angeles and New York.

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