Compare And Contrast Diego Rivera And Siqueiros

The early 1900s was a chaotic period in history, with many countries recovering from war, and the great depression was in its early stages after these wars. But for artists, these tough times brought in creative ideas and the development of new expressions. During the 1930s the space of mural art was booming with Mexican artists like Diego Rivera and David Alfaro Siqueiros. In this essay, I will compare and contrast the technical production of these two artists and explain how they shape the political and cultural landscape of their time through their visually captivating murals.

With the technical production of these two artists, both are brilliant in their works but they do have some varied distinctions. Starting with Rivera, his work tends

In Siqueiros Street meeting piece his mural “ is twice life-size and in more brilliant color than Siqueiros generally uses.” ( Rogo, 7) This mural was painted on the side of the Chouinard School of Art, this was seen as political as in the period racism was at its peak and this was seen as daring to be put in a public area. Siqueiros also tended to “ paint outside the lines.” When making the work, Plastic exercise, He painted the walls, along with the floor (Rogo, 7). The materials he used were different from what Rivera used. He “ used cement and mechanical instruments, putting on the colors with a spray gun” (Rogo, 7) along with “ Metal and celluloid stencils were used to give outline to the “smoky effect” of the air brush…” ( Golman, 323) Siqueiros was very experimental with his work, differentiating himself not only from his work material but also his layout. Using mechanical items, 3D elements, and no measurements would have stopped him from producing his work. The difference between the two artists' art production is very interesting, both came from similar cultural backgrounds of the 1930s but the way they approach their work is opposites but one thing is clear that they both had similar political dynamics, which will be discussed

Siqueiros was also a member of the Mexican Communist Party but used his knowledge and first-hand experiences to advocate for the social justice of his time. He first started fighting for social justice and revolutionary ideologies “At 15 he participated in a student strike at the San Carlos Academy in Mexico demanding abandonment of outmoded methods of art instruction. He served as an officer in the Mexican revolution before going to study in Europe.” (Goldman,321) Before going into the revolution, Siqueiro had begun with an interest in indigenous culture, and “He began to realize that’s just such magnificent culture result as had been produced by the older civilizations… “Porfiristo” had prevented them from appreciating to its fullest extent of all the import and beauty of the Indian culture—”( Rogo, 6) This will be relevant when later he was commissioned to paint a “tropical America”, Siqueiros “instead of painting “ a continent of happy men, surrounded by Palms and parrots where the fruit voluntarily detached itself… I painted a man… crucified on a double cross, which had, proudly perched on top, the eagle of the North American coins.” (324 Goldman) This mural brought on many mixed reactions, not only for its depiction but of the sizing, while some reactions were positive (towards the artist's perspective,) It was soon demanded to