Diego MarÃÆ'a de la ConcepciÃÆ'³n Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y RodrÃÆ'guez , known as Diego Rivera ( Spanish pronunciation: Ã, < span title = "Representation in Phonetics International Phonetics (IPA)"> ['dje? o ri'? E? A] ; December 8, 1886 - November 24, 1957) is a famous painter in Mexico. His great paintings helped shape the Mexican mural movement in Mexican art. Between 1922 and 1953, Rivera painted murals among others in Mexico City, Chapingo, Cuernavaca, San Francisco, Detroit, and New York City. In 1931, a retrospective exhibition of his work was held at the Museum of Modern Art in New York. Rivera has an easy marriage with fellow Mexican artist Frida Kahlo.
Video Diego Rivera
Personal life
Rivera was born in Guanajuato, Mexico, to a wealthy family, the son of MarÃÆ'a del Pilar Barrientos and Diego Rivera Acosta. Diego has a twin brother named Carlos, who died two years after they were born. Rivera is said to have an ancestor Converso (having an ancestor forced to convert from Judaism to Catholicism). Rivera wrote in 1935: "My Jewishness is the dominant element of my life." Rivera began drawing at the age of three, a year after the death of his twin brother. He has been caught drawing on the wall. His parents, instead of punishing him, installed a blackboard and canvas on the wall. As an adult, he married Angelina Beloff in 1911, and he gave birth to a son, Diego (1916-1918). Maria Vorobieff-Stebelska gave birth to a daughter named Marika in 1918 or 1919 when Rivera married Angelina (according to House of the Bridge: Ten Years of Flare with Diego Rivera) and Angelina's memoir called Memorias ). He married his second wife, Guadalupe MarÃÆ'n, in June 1922, with whom he had two daughters: Ruth and Guadalupe. She is still married when she meets art student Frida Kahlo. They married on August 21, 1929 when he was 42 years old and he was 22 years old. The joint affair and the nature of his violence led to a divorce in 1939, but they remarried December 8, 1940 in San Francisco. Rivera later married Emma Hurtado, his agent since 1946, on July 29, 1955, one year after Kahlo's death.
Rivera is an atheist. His magazine Sunday dream in Alameda describes Ignacio RamÃÆ'rez holding a sign that says, "God does not exist." This work caused a stir, but Rivera refused to remove the inscription. The painting was not shown for nine years - until Rivera agreed to remove the inscription. He stated: "To affirm 'God does not exist', I do not have to hide behind Don Ignacio RamÃÆ'rere: I am an atheist and I regard religion as a form of collective neurosis."
From the age of ten, Rivera studied art at the San Carlos Academy in Mexico City. He was sponsored to continue his studies in Europe by Teodoro A. Dehesa MÃÆ' Â © ndez, governor of the State of Veracruz. After arriving in Europe in 1907, Rivera initially went to study with Eduardo Chicharro in Madrid, Spain, and from there went to Paris, France, to live and work with a great gathering of artists in Montparnasse, especially at La Ruche, where his friend Amedeo Modigliani painted his portrait in 1914. His close circle of friends, including Ilya Ehrenburg, Chaim Soutine, Amedeo Modigliani and Modigliani's wife, Jeanne HÃÆ' © buterne, Max Jacob, gallery owner LÃÆ' Â © opold Zborowski, and Moise Kisling, were arrested for posterity. by Marie Vorobieff-Stebelska (Marevna) in his painting "Homage to Friends from Montparnasse" (1962).
In those years, Paris witnessed the beginning of Cubism in paintings by prominent painters such as Pablo Picasso, Georges Braque, and Juan Gris. From 1913 to 1917, Rivera enthusiastically embraced this new art school. Around 1917, inspired by the paintings of Paul CÃÆ'Â © zanne, Rivera shifted towards Post-Impressionism with simple shapes and large patches of bright colors. His paintings began to attract attention, and he was able to display them in several exhibitions.
Rivera died on November 24, 1957.
Maps Diego Rivera
Careers in Mexico
In 1920, pressed by Alberto J. Pani, Mexico's ambassador to France, Rivera left France and traveled to Italy to study art, including the Renaissance fresco. After Josà © à © Vasconcelos became Minister of Education, Rivera returned to Mexico in 1921 to engage in a government-sponsored Mexican mural program planned by Vasconcelos. See also Mexican muralism. This program includes Mexican artists such as José Clemente Orozco, David Alfaro Siqueiros, and Rufino Tamayo, and French artist Jean Charlot. In January 1922, he painted - experimentally in his first significant Crea Encounters at the Bolávar National Preparatory School Auditorium in Mexico City while guarding himself with a gun against right-wing students.
In the fall of 1922, Rivera participated in the founding of the Technical Workers Union, Painter, and Revolutionary Sculptor, and later that year he joined the Mexican Communist Party (including its Central Committee). His paintings, which were then painted in frescoes, were associated with Mexican society and reflected the Revolution of 1910. Rivera developed his own indigenous style based on large, simplified figures and bold colors with Aztec influences that were clearly present in the mural at the Secretariat of Public Education at Mexico City began in September 1922, intended to consist of one hundred and twenty-four frescoes, and was completed in 1928.
His art, in a similar way to steles from Maya, tells the story. The Mural of Arsenal shows on the right side of Tina Modotti holding an ammunition belt and facing Julio Antonio Mella, with a light cap, and Vittorio Vidali in the back with a black hat. However, the details of the En el Arsenal displayed do not include the right-hand side described or one of the three individuals mentioned; but instead shows the left side with Frida Kahlo who distributes ammunition. Leon Trotsky lived with Rivera and Kahlo for several months while exiled in Mexico. Some of Rivera's most famous murals are featured at the National Agricultural School (Chapingo Autonomous University of Agriculture) in Chapingo near Texcoco (1925-27), at CortÃÆ'Â © s Palace in Cuernavaca (1929-30), and National Palace in Mexico City (1929 -30, 1935).
Rivera painted a mural in the main hall and corridor at the University of Sport Agriculture Chapingo (UACh). He also painted a wall mural entitled Tierra Fecundada ( Fertile Land in English) in the university chapel between 1923 and 1927. Fertile Land depicts the revolutionaries the struggle of Mexican farmers (peasants) and the working class (industry) partly through the depiction of hammers and sickles attached by stars in the chapel soffit. In a mural, a "propagandist" points to a hammer and other sickles. The mural features a woman with corn ears in each hand, which art critic Antonio Rodriguez describes as an evocation of the Aztec corn goddess in his book Canto a la Tierra: Los murales de Diego Rivera en la Capilla de Chapingo .
The corpses of the revolutionary heroes Emiliano Zapata and Otilio Montano are shown in the cemetery, their bodies fertilizing the cornfields above. The sunflowers in the middle of the scene "glorify those who die for the cause and are reborn, transfigured, into the fertile cornfields of this country," Rodrigues wrote. The portrait also depicts Rivera's wife, Guadalupe Marin, as a fertile nude goddess and their daughter Guadalupe Rivera y Marin as cherubs.
The mural was slightly damaged by the earthquake, but has since been repaired and touched, still in its pure form.
Next year
In the fall of 1927, Rivera arrived in Moscow, receiving an invitation to take part in the 10th anniversary of the October Revolution. The following year, while still in Russia, he met Alfred H. Barr, Jr., who would soon become a friend and protector of Rivera, and the founding director of the Museum of Modern Art. Rivera was assigned to paint a mural for the Red Army Club in Moscow, but in 1928 he was ordered by authorities for involvement in anti-Soviet politics, and he returned to Mexico. In 1929, Rivera was expelled from the Mexican Communist Party. His 1928 Painting In Arsenal is interpreted by some as evidence of Rivera's previous knowledge of the murder of Julio Antonio Mella allegedly by Stalinist killer Vittorio Vidali. After divorcing Guadalupe (Lupe) Marin, Rivera married Frida Kahlo in August 1929. Also in 1929, the first English-language book in Rivera, American journalist Ernestine Evans, The Frescoes of Diego Rivera, was published in New City York. In December, Rivera received a commission to paint a mural at CortÃÆ'¼Å © s Palace in Cuernavaca from the American Ambassador to Mexico.
In September 1930, Rivera accepted an invitation from architect Timothy L. Pflueger to paint for him in San Francisco. Upon arriving in November accompanied by Kahlo, Rivera painted a mural for the City Club of San Francisco Stock Exchange for US $ 2,500 and a fresco for the California School of Fine Arts, then moved on to what is now the Diego Rivera Gallery at the San Francisco Art Institute. Kahlo and Rivera work and live in Ralph Stackpole's studio, which advises Rivera to Pflueger. Rivera meets Helen Wills Moody, a famous tennis player, who modeled for her City Club mural. In November 1931, Rivera held a retrospective exhibition at the Museum of Modern Art in New York City; Kahlo is present. Between 1932 and 1933, he completed the famous series of twenty-seven fresco panels titled Detroit Industry on the wall of an inner court at the Detroit Institute of Arts. During McCarthyism in the 1950s, a large sign was placed in the yard that defended the artistic value of the mural while attacking its politics as "abominable".
The murals of Man at the Crossroads, beginning in 1933 for Rockefeller Center in New York City, were removed after a furor erupted in the press over the portrait of Vladimir Lenin it contained. When Diego refused to remove Lenin from the painting, Diego was ordered to leave. One of Diego's assistants managed to take some pictures of the work so Diego can then make it back. American poet Archibald MacLeish wrote six "irony-laden" poems about the mural. The New Yorker publishes poem E. B. White "I paint what I see: Ballad of artistic integrity". As a result of negative publicity, a further commission was canceled to paint a mural for an exhibition at the Chicago World Expo. Rivera issued a statement that with the money left over from the mural commission at Rockefeller Center, he would repaint the same mural repeatedly wherever he was asked until the money ran out. He was paid in full even though the mural should have been destroyed. The rumor has floated that the fresco was actually covered rather than destroyed and destroyed.
In December 1933, Rivera returned to Mexico, and he repainted Man at the Crossroads in 1934 at Palacio de Bellas Artes in Mexico City. This live version is called Man, Controller of the Universe . On June 5, 1940, invited again by Pflueger, Rivera returned for the last time to the United States to paint a ten-piece mural for the Golden Gate International Exhibition in San Francisco. Pan American Unity finished November 29, 1940. As he painted, Rivera was displayed in front of exhibitors. He receives US $ 1,000 per month and US $ 1,000 for travel expenses.
This mural includes representations of two Pflueger architecture works as well as portraits of Kahlo, woodcarver Dudley C. Carter, and actress Paulette Goddard, who portrayed holding Rivera's hand as they planted a white tree together. Rivera's assistants in the wall paintings include African-American painter, dancer, and textile designer Thelma Johnson Streat. The murals and archives are located at City College of San Francisco.
Membership at AMORC
In 1926, Rivera became a member of the AMORC, the Ancient Mystical Order of Rosae Crucis, an occult organization founded by the American occultologist Harvey Spencer Lewis. In 1926, Rivera was one of the founders of AMORC's Mexico City hut, called Quetzalcoatl, and painted a picture of Quetzalcoatl for a local temple. In 1954, when he tried to be accepted back into the Mexican Communist Party from which he had previously been exempted for his support of Trotsky, Rivera had to justify his AMORC activities. The Communist Party of Mexico at that time was excluded from the ranks of Freemasonry members, and regarded AMORC as suspiciously similar to Freemasonry. Rivera replied that, by joining the AMORC, he wanted to infiltrate a typical "Yankee" organization in the name of Communism. However, he also claims that the AMORC "is essentially materialist, insofar as it only recognizes the various states of energy and matter, and is based on ancient Egyptian occult knowledge from Amenhotep IV and Nefertiti."
The cinematic depiction
Diego Rivera is depicted by Rubà © n Blades at Cradle Will Rock (1999), by Alfred Molina at Frida (2002), and (in short appearance) by Josà ©  © Montini at Eisenstein in Guanajuato (2015).
Literary Drawing
Source of the article : Wikipedia
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