Editing David Alfaro Siqueiros (section)

==Later life and works==
[[Image:SiqueirosMuralSanMiguel.JPG|thumb|250px|right|Unfinished 1940s mural painted by David Alfaro Siqueiros, in Escuela de Bellas Artes, a cultural center in San Miguel de Allende, Gto.]]
In 1948, Siqueiros was invited to teach a course on mural painting at an art academy in San Miguel Allende. Although he was barred from the United States, most of the students were American GIs who were being paid to study under him. Practicing his idea of learning art by working with a master artist on a mural project, he planned a mural in a colonial building recognizing the legacy of Miguel Allende, one of Mexico's leaders of the struggle for independence.  The mural was never completed, due to legal procedures against the owner of the art academy.  Based on this experience, he later wrote a book titled ''Como se pinta un mural''.

[[File:Siquerios rivera alt.jpg|thumb|Siqueiros (left), [[Dr. Atl]] (center), and [[Diego Rivera]] (right) in 1955]]

Siqueiros participated in the first ever Mexican contingent at the XXV [[Venice Biennale]] exhibition with Orozco, Rivera and [[Rufino Tamayo|Tamayo]] in 1950, and he received the second prize for all exhibitors, which recognized the international status of Mexican art.<ref name="White">Siqueiros, Biography of a Revolutionary Artist, (Book Surge, 2009)</ref><ref name="Folgarait">Leonard Folgarait, So Far From Heaven: David Alfaro Siqueiros' The March of Humanity and Mexican Revolutionary Politics (New York: [[Cambridge University Press]], 1987), 36.</ref> Yet by the 1950s, Siqueiros returned to accepting commissions from what he considered a "progressive" Mexican state, rather than painting for galleries or private patrons.<ref name="Folgarait"/> He constructed an outdoor mural entitled ''The People to the University, the University to the People'' at the [[National Autonomous University of Mexico]] in [[Mexico City]] in 1952. It was a combination of mural painting, bas-relief sculpture and Italian mosaic. In 1957 he began work on {{convert|4500|sqft|m2|adj=on}} government commission for [[Chapultepec Castle]] in Mexico City; ''Del porfirismo a la Revolución'' was his biggest mural yet.<ref name="Folgarait"/> (The painting is known in English as ''From the Dictatorship of Porfirio Diaz to the Revolution'' or ''The Revolution Against the Porfirian Dictatorship''.)

[[File:Tamiji Kitagawa and David Alfaro Siqueiros in 1955.jpg|right|thumb|200px|Siqueiros with [[Tamiji Kitagawa]] in 1955]]

In the lobby of the Hospital de la Raza in Mexico City, he created a revolutionary multi-angular mural using new materials and techniques, ''For the Social Welfare of all Mexicans''.  After painting ''Man the Master and Not the Slave of Technology'' on a concave aluminum panel in the lobby of the [[National Polytechnic Institute|Polytechnic Institute]], he painted ''The Apology for the Future Victory of Science over Cancer'' on panels that wrap around the lobby of the cancer center.<ref name="White"/>

Yet near the end of the decade, his outspoken communist views alienated him from the government. Under pressure from the government, the National Actors' Association, which had commissioned a mural on the theater in Mexico suspended his work on ''The History of Theater in Mexico'' at the Jorge Negrete Theater and sued him for breach of contract in 1958.<ref name="Campbell">Bruce Campbell, Mexican Murals in Times of Crisis (Tucson, Ariz.: The University of Arizona Press, 2003), 54.</ref>

[[Image:CU-Mexico-rectoria-1.jpg|left|thumb|300px|David Siqueiros mural: ''El pueblo a la universidad, la universidad al pueblo'', [[National Autonomous University of Mexico]], 1952–1956]]

[[File:David Alfaro Siqueiros (El Coronelazo).jpg|thumb|250px|Siqueiros by [[Héctor García Cobo]] at Lecumberri prison, Mexico City, 1960]]

Siqueiros was eventually arrested in 1960 for openly criticizing the President of Mexico, [[Adolfo López Mateos]], and leading protests against the arrests of striking workers and teachers, though the charges were commonly known to be false.<ref name="White"/> Numerous protests ensued, even including an appeal advertisement by well-known artists and writers in ''[[The New York Times]]'' in 1961.<ref name="New York Times ad">"Siqueiros" (advertisement), ''The New York Times'', August 9, 1961.</ref> Unjustly imprisoned, Siqueiros continued to paint, and his works continued to sell.<ref name="Folgarait"/> During that stay, he would make numerous sketches for the project of decorating the [[Hotel Casino de la Selva]], owned by Manuel Suarez y Suarez. After international pressure was put on the Mexican authorities, Siqueiros was finally pardoned and released in the spring of 1964. He immediately resumed working on his suspended murals in the Actors' Union and Chapultepec Castle.

When the mural planned for the Hotel de la Selva in [[Cuernavaca]] was moved to Mexico City and expanded, he assembled a team of national and international artists to work on the panels in his workshop in Cuernavaca.<ref name="White"/> This project, his last major mural, is the largest mural ever painted, an integrated structure combining architecture, in which the building was designed as a mural, with mural painting and polychromed sculpture. Known as the [[Polyforum Cultural Siqueiros|Polyforum Siqueiros]], the exterior consists of 12 panels of sculpture and painting while the walls and ceiling of the interior are covered with ''The March of Humanity on Earth and Toward the Cosmos''.<ref name="White"/> Completed in 1971 after years of extension and delay, the mural broke from some previous stylistic mandates, if only by its complex message. Known for making art that was easily read by the public, especially the lower classes, Siqueiros' message in ''The March'' is more difficult to decipher, though it seems to fuse two visions of human progress, one international and one based in Mexican heritage.<ref name="Folgarait"/> The mural's placement at a ritzy hotel and commission by its millionaire owner also seems to challenge Siqueiros' anti-capitalist ideology.<ref name="Folgarait"/>