Background
Jean Charlot was born in Paris, France, on Feburary 7, 1898. His mother was of Mexican descent. His father, Henri, owned an import-export business and was a Russian-born émigré.
(Hardbound in good condition with dust jacket, 350 pages i...)
Hardbound in good condition with dust jacket, 350 pages includes a FOREWORD, ACKNOWLEDGEMENTS, PREFACE, APPENDIXES, NOTES, BIBLIOGRAPHY, INDEX, PICTURE CREDITS and CARE OF HAWAIIAN FUTURE, measures approximately 9 ¼" x 12".
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illustrator muralist painter printmaker
Jean Charlot was born in Paris, France, on Feburary 7, 1898. His mother was of Mexican descent. His father, Henri, owned an import-export business and was a Russian-born émigré.
He attended the Lycée Condorcet and the École des Beaux Arts until 1917, when he entered the French army and became a lieutenant in the artillery.
Charlot served with the army until 1920 and after a short stay in Paris emigrated to Mexico. There he became identified, along with Orozco, Rivera, and Siqueiros, with the great mural movement just taking form under the inspired leadership of the Mexican minister of education, José Vasconcelos. Though younger than the other painters and less concerned with their ideological convictions, Charlot's professional training as an artist, his knowledge of history and the artists' techniques, his mathematician's understanding of architectural form and the then radical experiments of the Cubists were a determining influence in the crystallizing of a style which was both modern and Mexican. His "Fall of Tenochtitlán" (1922) in the staircase of the National Preparatory School was the first mural of the entire group to be completed in true fresco. Of his three other murals in Mexico, "The Washerwomen" and "The Packcarriers" (1923) still remain in the Ministry of Education building. In 1926 Charlot became staff artist to the Carnegie Archaeological Expedition in Chichén Itzá, the results of which appeared in the Institution's publication of The Temple of the Warriors (1929). Stylistically these investigations had an important influence not only on the development of Charlot's own art but on the work of the other Mexican painters as well, notably Rivera, Roberto Montenegro, and the younger men. In 1929 Charlot came to the United States; he taught at the Art Students' League in New York, the Colorado Springs Fine Arts Center, and various colleges and universities until his appointment as professor of art at the University of Hawaii in 1949. Along with his mural painting Charlot was an active printmaker, having first exhibited in the Paris Salon d'Automne in 1920, as well as a creative writer and historian. His writings list over 65 major books, articles and portfolios, of which the most important are: The Charlot Murals in Georgia (1945), Art from the Mayas to Disney (1939), Art-making from Mexico to China (1950), and Dance of Death (1951). He had innumerable one-man shows in Mexico, the United States, and Europe, and his easel paintings appear in most major public collections. There are more than 36 mural projects to his credit, the most important of which, besides those in Mexico, are at the University of Georgia, the Church of St. Brigit in Peapack, N. J. , the Des Moines Art Center, St. Mary's College, Notre Dame University, Syracuse University, and the University of Hawaii. He died in Honolulu, Hawaii, on March 20, 1979.
(Hardbound in good condition with dust jacket, 350 pages i...)
Charlot married a close friend of O'Higgins, Dorothy Day, an artist who had also grown up in Salt Lake City. At age twenty, Dorothy had changed her name to Zohmah and traveled to Mexico.