Question: When was one of the fresco mural, one of the greatest treasures of the Hood Museum of Art, painted?

Context:
The Epic of American Civilization
The Epic of American Civilization is a mural by the social realist painter José Clemente Orozco.
 It is located in the basement reading room of the Baker Memorial Library on the campus of Dartmouth College in Hanover, New Hampshire.
 The mural, painted between 1932 and 1934, consists of a series of 24 fresco panels, whose principal themes are the impact of both indigenous Native Americans and European colonists on North America, and the impact of war (particularly the Mexican Civil War and the First World War) and rapid industrialization on the human spirit.
 The mural was designated a National Historic Landmark in 2013.
Giornata
Giornata is an art term, originating from an Italian word which means "a day's work."
 The term is used in Buon fresco mural painting and describes how much painting can be done in a single day of painting.
 Knowing how much can be painted in a day is crucial in the Buon fresco technique, because in this technique a watercolor paint, without binder, is applied to wet lime plaster which binds the paint into the surface of the plaster when it dries, making for an extremely durable painting.
 An experienced fresco painter knows how much surface can be painted in a day, and wet plaster is applied to the wall in the right amount needed for each day's work.
 That amount is the "giornata".
 Generally the plaster is applied in a way that will conform to the outline of a figure, or object, in a painting, so that the daily segments will not show, but it is occasionally visible as different sections in a work where the artist may not have been able to replicate a pigment exactly the next day, or where restoration has altered or made apparent the changes in pigment between the sections.
Michael R. Taylor (museum director)
Dr. Michael R. Taylor is a curator, author, and expert in modern and contemporary art with a focus on Dada, Surrealism, and the work of Marcel Duchamp.
 With a Ph.D in Art History from the Courtauld Institute of Art in London, he was a Curator of Modern Art at the Philadelphia Museum of Art from 1997 until 2011, and Director of the Hood Museum of Art at Dartmouth College in Hanover, New Hampshire from 2011 until 2015 In May 2015, the Virginia Museum of Fine Arts announced its appointment of Dr. Taylor as Chief Curator and Deputy Director for Art and Education.
Guillermo Ceniceros
Guillermo Ceniceros (born May 7, 1939) is a Mexican painter and muralist, best known for his mural work in Mexico City as well as his figurative easel work.
 He began his mural painting career as an assistant to mural painters such as Federico Cantú, Luis Covarrubias and then David Alfaro Siqueiros who was a mentor and a key influence.
 Ceniceros is the most notable of Siqueiros' assistants.
 While he has experimented with abstract expression, his easel work mostly classifies as figurativism and is influenced by the geometrical construct of Mexican muralism.
 He has had over 300 individual and collective exhibitions in Mexico and the International stage.
 His work has been recognized by the Mexican Ministry of Culture and several of its institutions.
 He has painted over 20 large scale Mural Paintings with some of the most notable being the large scale work for the Legislative Palace of San Lazaro (Mexico's Legislative Building) as well as his murals in the Metro Subway System.
 He is a member of the Salón de la Plástica Mexicana.
 In 1995 the State of Durango, Ceniceros' native state, opened to the public the Guillermo Ceniceros Art Museum within the oversight of the Ministry of Culture.
 Ceniceros has been reviewed by notable critics such as Berta Taracena, Raquel Tibol, Alaide Foppa, Graciela Kartofel, José Angel Leyva and Eduardo Blackaller among others.
 There are several publications about his work including a vast review of his art life endeavors developed by the Ministries of Culture of Durango and Nuevo León.
 He is married to the artist Esther González and lives in his studio house in the Colonia Roma of Mexico City.
Ugochukwu-Smooth Nzewi
Ugochukwu-Smooth C. Nzewi is a Nigerian artist, art historian, and curator, currently Curator of African art at Cleveland Museum of Art.
 He was raised in Enugu and studied under sculptor El Anatsui at the University of Nigeria, Nsukka, before traveling as an artist and curator.
 In the United States, he completed his doctorate at Emory University in 2013 and became the curator of African art at Dartmouth College's Hood Museum of Art.
 In 2017, he moved to the Cleveland Museum of Art.
 Nzewi has curated the Nigerian Afrika Heritage Biennial three times, the Dak'Art biennial in 2014, and independent exhibitions at Atlanta's High Museum of Art and New York's Richard Taittinger Gallery.
 Nzewi also exhibited internationally as an artist and artist-in-resident.
Brian Kennedy (gallery director)
Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who works internationally.
 He is currently the Director of the Toledo Museum of Art in Ohio.
 He was the Director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997-2004.
Daniel Doherty
Daniel Doherty is a San Franciscan street artist.
 He is widely known for creating graffiti murals in the Mission District.
 Clarion Alley Mural Project participates in spreading awareness of heroes worldwide.
 Every year, 200,000 people visit these murals in San Francisco's Mission District.
 In 2011, Doherty painted an informative mural of Mohamed Bouazizi.
 The mural consists of a painting of Bouazizi surrounded by an explanation of how he became a catalyst for the Tunisian Revolution.
 Laura Lengel, author of "Symbolic Interaction and New Social Media," mention the significance of Doherty's mural of Mohamed Bouazizi.
 They describe Doherty's work of art as an "alternative offline media form."
 Doherty’s mural educated each visitor about this Tunisian martyr while promoting local art, helping spread Bouazizi's actions worldwide.
 Doherty has created several murals that consist of a local homeless man.
 These images touch on social problems.
 In one of them titles "Everything Must Go!"
 a bookstore filled with books about San Francisco is going out of business.
 He has also captured a famous location in San Francisco, Dolores Park, where he used pointillism.
Hood Museum of Art
The Hood Museum of Art is a museum in Hanover, New Hampshire, United States.
 Dating back to 1772, the museum is owned and operated by Dartmouth College.
 The current building, designed by Charles Willard Moore and Chad Floyd, opened in the fall of 1985.
 It houses both permanent collections and visiting exhibitions.
 The collection encompasses important holdings of American, Native American, European, African, and Melanesian art, including a significant collection of indigenous Australian contemporary art and a major archive of photojournalism.
 Among the collection's greatest treasures are Assyrian reliefs and the fresco mural cycle "The Epic of American Civilization", by José Clemente Orozco.
 (The murals are located in nearby Baker Memorial Library.)
Ann Rice O'Hanlon
Ann Louise Rice O'Hanlon (June 21, 1908 – 1998) was a 20th-century American visual artist who painted murals.
 O'Hanlon is best known for a fresco painted on the wall of Memorial Hall at the University of Kentucky in 1934 for the Treasury Relief Art Project.
 The fresco depicts the history of central Kentucky from the time of settlement through the 19th Century.
 The fresco has repeatedly attracted negative attention for its romanticized depiction of African American slaves.
 In November 2015 the President of the University of Kentucky, Eli Capilouto, had the wall shrouded until the university community comes to a permanent decision about how to deal with the fresco.
Alfredo Guati Rojo
Alfredo Guati Rojo Cárdenas (December 1, 1918 – June 10, 2003) was a 20th-century Mexican artist who worked to restore the reputation of watercolor painting as a true art form.
 His preference for the technique came from seeing Diego Rivera’s work and helping with a fresco mural in his hometown of Cuernavaca as a child.
 When he was 16, he went to Mexico City to study law, but switched to art.
 He learned the various classic art techniques but kept his preference for watercolor.
 His career began by teaching art, founding an art institute in the Colonia Roma section of Mexico City.
 In the 1950s, he tried to get the areas art galleries to show watercolors but they refused, considering it as a minor art form.
 He began to host exhibitions of watercolor works at his art institute with success which led to the formation of the Museo Nacional de la Acuarela or National Watercolor Museum in the 1960s.
 The museum remained in Colonia Roma until the 1985 Mexico City earthquake destroyed the building and led to it relocation to the Coyoacán borough where it remains.
 During this time, Guati Rojo also had a career showing and selling his own artwork, almost exclusively watercolors in various parts of the world.
 Most of his income from this painting went to support the museum.

Answer: between 1932 and 1934