Rivera - The Frescoes of Diego Rivera Michael Camerini 1986...

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The Frescoes of Diego Rivera Michael Camerini 1986 Was a kind of national monument by the time he painted the Frescoes It was attacked and mutilated by protestors He was a young painter in Paris and the Mexican revolution was coming to a close Full of energy, excitement, and opportunity New definition of nationalist after Obregon Began to accept and recognized it’s Indian soul Obregon’s government posed for more money for education Painters, poets, and musiciains The arts were the key to transformation of Mexico Rivera planned his return home Left for Europe in 1907 became a prodigy Arrived in spain and then france hungry to learn Produced hundreds of paintings, became accomplished at the school of Paris Watched from a distance the Mexican and Russian Revolutions, he wanted to make art useful Returned in july 1921 Siquieros and Orozco wanted painters Rivera began his first mural in 1922 The lessons of cubism, painted about the relationship of architecture and structure “Creation” – an allegory recorded the trip in a sketchbook, mind absorbing Jean Shauleau his friend said he was beginning to look his country in the face and find it beautiful Painted mexico’s fertile jungle and after this Rivera wanted more walls Glorification of the life and culture of the Mexican people Fresco – when plaster dries, frescoe has become a part of the wall Used the upward movement to show the geographical features of the land and the
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  • Spring '10
  • AnneMartinez
  • Mexico Rivera, Diego Rivera Michael, organic past Rivera, Mexican people Fresco, Mexican culture Walls

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Rivera - The Frescoes of Diego Rivera Michael Camerini 1986...

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