Diego Rivera Essay

Diego Rivera was one of the most recognizable figures in Mexican art, let alone Mexican muralism. His name is widely known for the large murals, especially that of the public art initiative that surfaced in the 1920s, just after the Mexican Revolution, although he began making masterpieces years before the Mexican revolution even began. Diego Rivera was born December 8 of 1886, with a twin brother to parents who were well off. As both Rivera and his brother grew, only Rivera survived. Carlos, Rivera’s brother died at the age of two. Shortly after Rivera began making art, at the age of three he began drawing upon the walls of his home. One can only speculate the reasons for Rivera’s sudden jump to art, but perhaps it was the way he coped
with the death of not only his brother, but his twin. Rivera was fortunate enough to have parents who instead of stifling his art upon this walls, cherished and encouraged it. Rivera’s parents even installed canvas and chalkboards on their walls for him. At the age of 10 Rivera started studying at the Academy of San Carlos in Mexico City. Then, in 1907 he continued his education in Europe. While there he became friends with many famous people including artists like Pablo Picasso. Throughout his life Diego Rivera created many respected works of art, I will be focusing on three different pieces.
The first, Man at the Crossroads, was a commission piece. It was commissioned by Nelson Rockefeller for the communications building in Rockefeller Center. Rockefeller wanted a mural depicting his own words, “Man at the Crossroads Looking with Hope and High Vision to the Choosing of a New and Better Future.” Rivera proposed a 63 foot mural and bang working in March of 1933 with 6 assistants. Man at the Crossroads, showed to be one of the most groundbreaking and controversial works of Rivera. Within the mural, the two intersecting slides or crossroads were populated with views of microscopic sexually transmitted disease cells, on one. The other cross road was filled with a telescopic view of the universe. The left panel then showed the high rich class people with drinks, any were women. Whereas, the right panel showed a group of people protesting for change and being clubbed by the police force. Along with those unsavory views to that of the buyer, there was one final image that sealed the fate of the mural. The Russian communist leader, Lenin, is shown uniting hands with that of a black farmer, a white worker and a soldier, which represents an anti-capitalist favor. When asked to change the face of Lenin, Rivera refused thus leading Rockefeller to not allow him to finished his work and bar him from the premises. Rivera, determined to finish, reproducing the work under another name, Man, Controller of The Universe, at the Palacio de Bellas Arte in Mexico
City. The next piece is called, Detroit Industry, was commissioned by Edsel Ford, the son of Henry Ford, and at the time president of the Ford car company, as well as William Valentier, director of the Detroit Institute of the Arts in 1932. This mural came with the guidelines of having the work relate to the history and development of Detroit and the Ford Motor Company. After seeing the 2 walls he was commissioned to paint in the Museums garden court, Rivera suggested painting all four of the wall, which Ford and Valentier agreed to, and expanded his commission. Rivera did his designs then began working on the murals in July of 1932, which were finished in March of 1933. This work has many points of controversy, the first being the workers of different races working side by side. The next issue was that of the nudes within the mural, they were deemed pornographic. Another dispute within the art itself was the nativity scene with baby Jesus receiving a vaccination, and the wisemen being portrayed by doctors from other countries. Also even having Rivera create the murals was somewhat of a strife in itself, many people in the midst of the Great Depression, wondered why a Mexican artist was used instead of an American. The last work of art is The History of Mexico, was started in 1929, and finished in 1935. It is an incredibly large mural going from floor to ceiling and spanning 1000 feet. Rivera was a leader for the government sponsored mural program, this program was to promote the new government after the Mexican revolution. This mural is within the staircases of the National Palace. The northern wall shows the richness of the Aztec culture. It shows the staple crops and the artisans influences of the Aztec, as well as the Sun, a central feature in the Aztec faith sitting at the top of the mural. The Aztec area of the mural also includes other features of worship such as snakes and jaguars. The West wall shows the history of Mexico from conflicts to rebellions. The central image is a large eagle grasping a snake in its mouth, which symbolizes Mexico and its mixed heritage. Also in the mural are images that depict religion and criticize the role it played in colonization, as well as the colonial oppression and violence throughout the mural. Rivera also included the execution of Maximilian, which is widely regarded as a symbolic end to European rule in Mexico. Lastly, Rivera as an open supporter of communism, included symbols of communism throughout the murals in hopes for the future of Mexico.