tres revoluciones diego rivera

Diego Rivera no participó en la lucha armada durante la Revolución.
Prefirió centrar sus esfuerzos para consolidar su estilo.
Fundador del Partido Comunista Mexicano, Diego Rivera visitó la Unión Soviética en 1927-1928.
De regreso a México, se casó con la pintora Frida Kahlo, que había sido su modelo, y persuadió al gobierno mexicano a que concediese el asilo político a Trotski (1936), lo que le valió la expulsión del Partido.
Y es así como llama a su obra, “Día de Muertos”; un mural en el que Diego Rivera plasma una escena de esta tradición que se celebra en muchos hogares de nuestro país y que ha sido reconocida a nivel internacional debido a su valor cultural.
A finales de 1955, mientras estaba en un hospital de la Unión Soviética, donde era sometido a un tratamiento nuevo contra el cáncer de próstata que padecía, Diego Rivera comenzó a hacer –a pedido de Carlos Lazo, quien había sido gerente general de obras de Ciudad Universitaria y ahora fungía como secretario de

How Is History told?

Typically, we think of history as a series of events narrated in chronological order. But what does history look like as a series of images? Mexican artist Diego Rivera responded to this question when he painted The History of Mexico, as a series of murals that span three large walls within a grand stairwell of the National Palace in Mexico City. I

A New National Identity

In the immediate years following the Mexican Revolution (1910–1920), the newly formed government sought to establish a national identity that eschewed Eurocentrism (an emphasis on European culture) and instead heralded the Amerindian. The result was that Indigenous culture was elevated in the national discourse. After hundreds of years of colonial

Why Murals?

Rivera and other artists believed easel painting to be “aristocratic,” since for centuries this kind of art had been the purview of the elite. Instead they favored mural painting since it could present subjects on a large scale to a wide public audience. This idea—of directly addressing the people in public buildings—suited the muralists’ Communist

The North Wall

The Aztec World, the title of the mural on the North Wall, features Rivera’s first large-scale rendering of Mesoamerica before the Spanish invasion—here focused on the Aztecs (the Mexica). Rivera’s representation of the deity Quetzalcoatl (“feathered serpent”), seated in the center of the composition wearing a headdress of quetzal feathers—draws on

The West Wall

On the West Wall and in the center of the stairway, visitors are confronted with a chaotic composition titled From the Conquest to 1930. The wall is divided at the top by corbelsfrom which spring five arches. Across the top, In the outermost sections, Rivera represents the two nineteenth-century invasions of Mexico—by France and the United States r

The South Wall

Rivera’s politics become more evident on the South Wall, titled Mexico Today and Tomorrow, which was painted years later in 1935. Mexico Today and Tomorrowdepicts contemporary class conflict between industrial capitalism (using machinery and with a clear division of labor) and workers around the world. The narrative begins in the lower right and pr

An Alternative History

So what type of history has Rivera told us and how did he tell it? Is he the sole narrator? The History of Mexicowas painted in a governmental building as part of a campaign to promote Mexican national identity, and yet, the mural cycle is not necessarily didactic. Rivera could have created a much simpler representation of Mexican history, one that

Diego Rivera (Guanajuato, 8 de diciembre de 1886 — Ciudad de México, 24 de noviembre de 1957) fue un destacado muralista mexicano de ideología comunista Autres questions