Jorge Mendoza (left) and the master Solón Romero working on the unfinished  mural "Juana contemporánea del pueblo", 1979. Technique: lacquer pyroxylin;  dimensions:  4.5 x 3.3 meters ( 14’x 11’ feet); Heritage  of University Major San Andrés, La Paz-Bolivia.

 En la primavera de 1979, comencé a crear el mural “Juana de pueblo” para mi licenciatura en Bellas Artes, con Solón Romero, un muralista experimentado, como profesor y guía. Aprendí que el muralismo es estático y tiene sus propias reglas, diferentes a las de la pintura de caballete. La composición debe considerar el espacio: abierto o cerrado, y la perspectiva debe ajustarse a la estatura del espectador. La iluminación es otro factor crucial.

Elegí rendir homenaje a la mujer boliviana con un mural sobre doña Juana Azurduy (1780-1862) y su papel en la Independencia de Bolivia (1825). También incluí a su esposo, Manuel Padilla (1774-1816), y al poeta quechua Wallpa Rimachi Mayta (c. 1793–1814). Doña Juana demostró su valentía en la batalla de Pintatora (1815) al regresar al combate después de dar a luz y capturar el estandarte español.

El mural “Juana Contemporánea del Pueblo” presenta dibujos y grabados en blanco y negro sobre papel, usando la técnica de grisalla para estudiar claroscuro. La historia central muestra a doña Juana, con un hijo en la espalda y otro en brazos, mientras sus otros tres hijos ayudan a un hijo moribundo. Encima de Juana está don Manuel Ascencio Padilla, un héroe valiente, y el poeta quechua Wallpa Rimachi Mayta, ambos luchando por la libertad boliviana contra España. Doña Juana alcanzó el grado de Teniente Coronel en 1812, y Simón Bolívar sugirió nombrar el país Azurduy en su honor.  

En el mural, representé el evento impactante del 1 de noviembre de 1979 en La Paz, Bolivia, conocido como el Día de Todos los Santos, que fue alterado por el “golpe de estado de la cocaína”. Mostré a personas emergiendo del lado izquierdo del cuerpo de doña Juana, protestando contra los militares que están al lado derecho de la Universidad Mayor de San Andrés. Los militares, armados y flanqueados por una tanqueta, atacaron a la multitud con perros. Recuerdo que un perro me mordió, y tuve que saltar del muro del atrio al jardín. La pintura refleja el miedo y la violencia del régimen narco-militar, que causó sufrimiento y más de 1500 muertes. Este fue el primer golpe de Estado con participación del narcotráfico en Bolivia, liderado por militares corruptos como Alberto Natusch-Busch. Comandantes bolivianos se aliaron con narcotraficantes como Roberto Suárez Gómez, líder del cartel de Santa Cruz, “La Corporación”, que suministraba cocaína a organizaciones criminales internacionales. El ejército y el cartel torturaron y asesinaron a líderes bolivianos. Esta represión fue parte de la Operación Cóndor (1975-1980), una campaña de represión política de dictaduras de extrema derecha en Sudamérica, que usaron inteligencia, golpes de Estado y asesinatos de izquierdistas. Debido a una orden de búsqueda y captura de narco-para-militares, tuve que viajar a México, dejando inconcluso el mural.

In the spring of 1979, I began creating the mural "Juana de Pueblo" for my Bachelor of Fine Arts degree, with Solón Romero, an experienced muralist, as my teacher and guide. I learned that muralism is static and has its own rules, different from those of easel painting. The composition must consider the space: open or closed, and the perspective must adjust to the viewer's height. Lighting is another crucial factor.
I chose to pay tribute to Bolivian women with a mural about Doña Juana Azurduy (1780–1862) and her role in the Bolivian Independence (1825). I also included her husband, Manuel Padilla (1774–1816), and the Quechua poet Wallpa Rimachi Mayta (c. 1793–1814). Doña Juana demonstrated her bravery at the Battle of Pintatora (1815) by returning to combat after giving birth and capturing the Spanish standard.
The mural “Juana Contemporánea del Pueblo” features black and white drawings and prints on paper, using the grisaille technique to study chiaroscuro. The central story shows Doña Juana, carrying one son on her back and another in her arms, while her three other children assist a dying son. Above Juana are Don Manuel Ascencio Padilla, a brave hero, and the Quechua poet Wallpa Rimachi Mayta, both fighting for Bolivian freedom against Spain. Doña Juana reached the rank of Lieutenant Colonel in 1812, and Simón Bolívar suggested naming the country Azurduy in her honor.
In the mural, I depicted the shocking event of November 1, 1979, in La Paz, Bolivia, known as All Saints' Day, which was altered by the “cocaine coup d'état.” I showed people emerging from the left side of Doña Juana's body, protesting against the military personnel on the right side of the Universidad Mayor de San Andrés. The armed military, flanked by an armored vehicle, attacked the crowd with dogs. I remember being bitten by one dog, and I had to jump from the atrium wall into the garden. The painting reflects the fear and violence of the narco-military regime, which caused suffering and more than 1,500 deaths. This was the first coup d'état involving drug trafficking in Bolivia, led by corrupt military officers like Alberto Natusch-Busch. Bolivian commanders allied themselves with drug traffickers like Roberto Suárez Gómez, leader of the Santa Cruz cartel, "La Corporación," which supplied cocaine to international criminal organizations. The military and the cartel tortured and murdered Bolivian leaders. This repression was part of Operation Condor (1975–1980), a campaign of political repression by far-right dictatorships in South America, which used intelligence, coups, and assassinations of leftists. Due to a search and arrest warrant for henchman and narco-paramilitaries, I had to travel to Mexico, leaving the mural unfinished.

First stage of the unfinished mural " Juana del pueblo” and after its restoration process in 2015; at the University San Andres, La Paz Bolivia. Note the damage and vandalism that endured this mural!!

Jorge Mendoza the painter and Mauricio Bayro the restorer  at the Juana contemporánea’s, Mural Heritage room.  After the 1979 narco militar coup-de-etat, the master Solon had to take refuge in a Embassy and J Mendoza had to flee to México due he was threatened by and the henchman were after him.

This mural was camouflaged and preserved from the milicos destruction command by many heroes: don Poli, the gardener, Branco the ceramist, the male model, Tina the Spanish secretary, and the art students! 

Nevertheless, it was vandalized in some areas by some anonymous coward! So, in order to preserve its integrity the mural’s room is closed. 

Lately, this mural had some restoration with the following interventions:

1)  Consolidate the mural's lacquer painting layers to isolate from humidity;

 2) controlled and avoided decaying and detachments layers from the supporting wall;

3) control the impact levels on the beams that supports the walls;

3) installed adequate lighting  avoiding its deterioration, wear and tear. 

http://www.semanarioaqui.com/index.php/cultura/1074-el-mural-inconcluso-de-solon-romero-y-jorge-mendoza