As a muralist and an artist, Siqueiros believed art should be public, educational, and ideological.
He painted mostly murals and other portraits of the revolution – its goals, its past, and the current oppression of the working classes.
Because he was painting a story of human struggle to overcome authoritarian, capitalist rule, he painted the everyday people ideally involved in this struggle.
Though his pieces sometimes include landscapes or figures of Mexican history and mythology, these elements often appear as mere accessories to the story of a revolutionary hero or heroes (several works depict the revolutionary "masses", such as the mural at Chapultepec).

His interest in the human form developed at the Academy in Mexico City.
His accentuation of the angles of the body, its muscles and joints, can be seen throughout his career in his portrayal of the strong revolutionary body.
In addition, many works, especially in the 1930s, prominently feature hands, which could be interpreted as another heroic symbol of proletarian strength through work: his self-portrait in prison (El Coronelazo, 1945, Museum of Modern Art, Mexico City), Our Present Image (1947, Museum of Modern Art, Mexico), New Democracy (1944, Palace of Fine Arts, Mexico City), and even his series on working class women, such as The Sob.
As a muralist and an artist, Siqueiros believed art should be public, educational, and ideological. He painted mostly murals and other portraits of the revolution – its goals, its past, and the current oppression of the working classes. Because he was painting a story of human struggle to overcome authoritarian, capitalist rule, he painted the everyday people ideally involved in this struggle. Though his pieces sometimes include landscapes or figures of Mexican history and mythology, these elements often appear as mere accessories to the story of a revolutionary hero or heroes (several works depict the revolutionary "masses", such as the mural at Chapultepec).
His interest in the human form developed at the Academy in Mexico City. His accentuation of the angles of the body, its muscles and joints, can be seen throughout his career in his portrayal of the strong revolutionary body. In addition, many works, especially in the 1930s, prominently feature hands, which could be interpreted as another heroic symbol of proletarian strength through work: his self-portrait in prison (El Coronelazo, 1945, Museum of Modern Art, Mexico City), Our Present Image (1947, Museum of Modern Art, Mexico), New Democracy (1944, Palace of Fine Arts, Mexico City), and even his series on working class women, such as The Sob.
David Alfaro Siqueiros