Diego Rivera: His Art and His Passions (Temporis Collection)
"I was aware of Diego Rivera, the Mexican muralist, long before I encountered the many other "Diego Riveras" that roamed the world between the beginning of the twentieth century and the late 1950s. [...] While his easel paintings and drawings constitute a large body of both his early and late work, his unique murals explode off walls in virtuoso performances of mind-staggering organisation. On those walls the man, his legend and myths, his technical talent, his intense story-telling focus and self-indulgent ideological convictions all come together." (Gerry Souter) Gerry Souter, the author of the remarkable Frida Kahlo, overcomes his huge admiration for Diego Rivera to give the artist a human dimension, found in his political choices, his love affairs and his belief that "this truth was Mexico, the language of his thoughts, the blood in his veins, the azure sky above his resting place."
components then migrated in his paint box to his exhibition, timed to detonate 40. Diego Rivera, Woman with a Red Shawl, 1920. as the President admired Diego’s paintings. When the President’s comely wife showed up at Oil on canvas, 80 x 75 cm. the grand opening instead, the plot, like the bomb, fizzled out. Private collection, Mexico City. 59 D I E G O R I V E R A – H I S A R T A N D H I S PA S S I O N S With his zeal to fight for the proletariat against the imperialists and capitalists
had finished lunch in the hall and succumbed to Lupe’s carnal demands, that same voice suddenly hailed: “On guard, Diego! Nahui is coming!” 68. Diego Rivera, Creation, 1922-1923. Encaustic and gold leaf, 708 x 1219 cm. Anfiteatro Bolívar, Escuela Nacional Preparatoria, Mexico City. Again, Diego could not find the owner of the piping laughing voice. But one evening while he was painting on the scaffolding and Lupe was weaving at her loom down below, the door 69. Diego Rivera, opened and a
muralist, long before I encountered the many other “Diego Riveras” that roamed the world between the beginning of the twentieth century and the late 1950s. As a photojournalist and graduate of the Chicago Art Institute, I took advantage of travel assignments to visit great works of art whenever possible. In Paris there are the treasures of the Louvre and the Centre Pompidou. In Mexico, there is Diego Rivera – everywhere. At home, I have the advantage of being only five hours by car from the
Diego in Paris – returned from Mexico City with two Rivera paintings. Stackpole, a muralist, sculptor, etcher and art instructor was a champion of social realism in the United States and eventually worked for Roosevelt’s Works Progress Administration in the Fine Arts. He gave one of Rivera’s paintings – a woman holding an infant – to William Gerstel, president of the San Francisco Art Commission. Gerstel disliked the rather drab painting but hung it on a wall in his studio anyway next to a
vast industrial complex and automobile industry. As the Great Depression deepened, that industrial complex needed public exposure and display of its reliance on the skills of the American worker. With jobs disappearing as companies closed their doors, automobile sales had begun to plummet. Ford saw sales dropping from 1,261,053 cars sold in 1930 to 626,579 cars moved in 1931.42 193 194 A COMMUNIST CHEERED BY AMERICANS Ford would never again dominate the new car market. Though awash in red