Analysis Of Thomas Rivera's 'Man At The Crossroads'

As Rivera’s trip to America in the 1930s swept him through a whirlwind of artistic transformation, the Mexican muralist bequeathed a wide array of both admired and detested artworks across the country. Perhaps his most infamous creation, whether a product of defiance or miscommunication, found itself brushed across a prominent wall of Rockefeller Center in New York City in 1934. Man at the Crossroads, a piece commissioned by business magnate Nelson Rockefeller, stirred loathsome sentiments within the benefactors of a free market economy, prompting the destruction of the mural prior to completion. At first glance, the composition appears to juxtapose an assortment of timely world events within the 15.75 by 37.5 feet facade. However, upon further inspection, controversial aspects of the design make themselves glaringly apparent.
Situated in the center of the massive wall stands a worker acting as a vertical axis, establishing order to the jumbled painting. On each side of him, Rivera illustrates his interpretation of the realities of different political ideologies and how they impact the societies that embrace them. A portrayal of a united communist utopia exists to the left of the man, clashing with the right side, which represents the horrors present in a capitalist nation. On the right,
Rivera captures his country's rich and painful history in one of his later works in life, the 1947 mural, Dream of a Sunday Afternoon in Alameda Park. In the painting, hundreds of unique personalities stroll through the bustling public square, assuming the roles of figures, both good and evil, paramount to the formation and future of Mexico. Sharing his personal relationship to his homeland, Rivera’s perspective and outlook on his native country shine in this revered