English
Diego Rivera's historical vision
By Nadia Ugalde Gómez. Excerpt from the book 'Rivera. The Complete Murals'
Page [1] [2] [3] [4] [5] [6]
The first segment begins with the Conquest and the colonial period, moving on to the two 19th century wars of intervention, the Guerra de la Reforma (1858–61) and the subsequent French and Conservative attempt to impose Maximilian as Emperor (1864–67). The figures in the foreground come from the immediate past and seem to be dreaming, some with their eyes closed. They represent the different social strata produced by the turnof-the-century Mexico of Rivera’s childhood. Spanish oppression and the power of the Church are represented by Cortés, his hands blood-stained, and the atrocities of the Inquisition. […]
The second part occupies the center of the mural. In the foreground, Rivera as a child and José Guadalupe Posada stand on either side of the subject of Posada’s most famous etching, Calavera Catrina (a skeleton dressed as a fashionable lady). Rivera portrayed himself at the age of nine with a frog and snake peering out from his pockets. In one hand he holds an umbrella with a vulture’s-head handle and in the other the hand of Catrina. Rivera has decorated her with a plumed serpent (Quetzalcóatl) alluding to pre-Hispanic cultures. Other witnesses of the Porfiriato include Frida Kahlo, who holds the Chinese yin-yang (eternal circle) in her left hand. […]
This section shows the immense diversity of forms of society that Rivera experienced in his childhood. His historical "cross section" is made up of a variety of periods and epochs. The treatment is for the most part frontal and shows careful attention to period detail. It is a parade of characters of all types, a gallery of documented portraits whose sources probably included books, prints, photographs and models.
"God does not exist"
The third part deals with the peasant and popular movements that culminated in the Revolution of 1910. It includes the revolutionary triumvirate of soldier, worker and peasant who worked to realize Francisco Madero’s slogan: "effective voting". It also encompasses the post-Revolutionary period. The corruption and collusion of bourgeoisie, politicians and priests are portrayed in another triumvirate: president, archbishop and a businessman from modern-day Mexico.
All these characters, real and imaginary, are presented on a broad, brilliantly-colored backdrop framed by the stately trees of the Alameda and by architecture from the principal epochs portrayed: the colonial period, the 19th century and the modern era. A monumental figure presides over each of the three sections: Benito Juárez, Porfirio Díaz and Francisco Madero. These iconic figures (the liberators on either side of a dictator) symbolize key moments in Mexican history.
Page [1] [2] [3] [4] [5] [6]
Page [1] [2] [3] [4] [5] [6]
The first segment begins with the Conquest and the colonial period, moving on to the two 19th century wars of intervention, the Guerra de la Reforma (1858–61) and the subsequent French and Conservative attempt to impose Maximilian as Emperor (1864–67). The figures in the foreground come from the immediate past and seem to be dreaming, some with their eyes closed. They represent the different social strata produced by the turnof-the-century Mexico of Rivera’s childhood. Spanish oppression and the power of the Church are represented by Cortés, his hands blood-stained, and the atrocities of the Inquisition. […]
The second part occupies the center of the mural. In the foreground, Rivera as a child and José Guadalupe Posada stand on either side of the subject of Posada’s most famous etching, Calavera Catrina (a skeleton dressed as a fashionable lady). Rivera portrayed himself at the age of nine with a frog and snake peering out from his pockets. In one hand he holds an umbrella with a vulture’s-head handle and in the other the hand of Catrina. Rivera has decorated her with a plumed serpent (Quetzalcóatl) alluding to pre-Hispanic cultures. Other witnesses of the Porfiriato include Frida Kahlo, who holds the Chinese yin-yang (eternal circle) in her left hand. […]
This section shows the immense diversity of forms of society that Rivera experienced in his childhood. His historical "cross section" is made up of a variety of periods and epochs. The treatment is for the most part frontal and shows careful attention to period detail. It is a parade of characters of all types, a gallery of documented portraits whose sources probably included books, prints, photographs and models.
"God does not exist"
The third part deals with the peasant and popular movements that culminated in the Revolution of 1910. It includes the revolutionary triumvirate of soldier, worker and peasant who worked to realize Francisco Madero’s slogan: "effective voting". It also encompasses the post-Revolutionary period. The corruption and collusion of bourgeoisie, politicians and priests are portrayed in another triumvirate: president, archbishop and a businessman from modern-day Mexico.
All these characters, real and imaginary, are presented on a broad, brilliantly-colored backdrop framed by the stately trees of the Alameda and by architecture from the principal epochs portrayed: the colonial period, the 19th century and the modern era. A monumental figure presides over each of the three sections: Benito Juárez, Porfirio Díaz and Francisco Madero. These iconic figures (the liberators on either side of a dictator) symbolize key moments in Mexican history.
Page [1] [2] [3] [4] [5] [6]
Diego Rivera. The Complete Murals
Hardcover 11.4 x 17.3 in., 674 pages
$ 200.00
$ 200.00
Diego in detail. The most comprehensive study of Rivera's work ever made
Portrait of America - The New Freedom (detail), Private collection, Mexico.