For many years, mural art was closely associated with the classes that held religious and/or economic power. In the 1920s Mexican muralism emerged, headed by the painters Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros. Muralism became based on the idea of freeing paintings from the boundaries imposed by museums, and releasing them into open space while at the same time highlighting their revolutionary significance. This art movement symbolically achieved validity in 1938, when Leon Trotsky said, “Do you want to know what revolutionary art is? Discover Rivera’s murals.”
Muralism has developed into a global form of art that depicts revolution and opposition. Examples of this expression include the murals that stretched across the Berlin Wall from its construction in 1961 until its collapse, the murals created in Portugal during the 1974 Carnation Revolution, the murals on the Apartheid Wall in Palestine, and, finally, those murals on the walls of towns and cities where the Syrian revolution blazes.
Muralism is not a Syrian conception, but this widespread art form is undeniably an essential element of the Syrian revolution.