The Detroit Industry Mural by Diego Rivera was created from 1932-1933 which is displayed at the Detroit Institute of Arts ("Diego Rivera Biography”). The piece represents the industrial and technological advancements made during that time and is shown across 27 panels. Additionally, when Rivera was growing up in Mexico, workers were treated poorly and didn’t have laws to protect them because many were living in poverty. This influenced Rivera to create a mural that honored Detroit’s labor force and technological advancements. Diego Rivera was born in Guanajuato, Mexico in 1886 and lived with his father and mother - Diego Rivera and Maria Barrientos de Rivera ("Diego Rivera Biography”).
The two artists that caught my attention were Mexican artists, Pedro Reyes and Carla Fernandez. What makes these artists unique is that they both collaborate together to create their own form of art. They met in college when they decided to collaborate in a show after knowing each other for ten years they married. Carla works with textile and fabrics and Pedro focuses more on welding, stone making or weaving. While Pedro works more with young college students, Carla finds her inspiration while working with the community.
In order to write this book, the author clearly uses different manuscripts and papers that helped him to explain and show the situation of this social movement. He also uses and gets information from people that were living those situations, for instance in Chapter one, he mentions a note from Journalist Ruiz Ibañez: “Contrary to the common belief that those groups are composed of “punks” and hoodlums….”1. Related to him, he is an American historian and sociology that obtained his sociology and political science degrees in the University of Texas at Austin and Yale University, as well. Currently, he is a professor of Ethnic Studies at the University of California, Berkeley and he is president of the Center for Latino Policy Research. He wrote not only Quixote’s Soldiers but also, Anglos and Mexicans in the Making of Texas, 1836-1986.
Diego Rivera was one of the most important artists of the Mexican Revolution. He played a crucial role in giving the public an opportunity to understand the events taking place during the Mexican Revolution. Diego Rivera was known for his murals and using them to convey his political view points. Rivera’s murals were loaded with details of the Mexican culture and history, which also included the harsh reality of the political struggles that Mexico went through. Rivera was a supporter of communism and Marxism.
“ Every good composition is above all work of abstraction. All good painter’s cannot dispense with subjects altogether without his work suffering impoverishment .” - Diego Rivera. Rivera was a famed Mexican muralist. Diego Rivera was born on December 8,1886.
Diego Rivera, a Mexican-born artist, used his murals and frescoes to influence the communication of shared interests and problems in many countries including Mexico and the United States. His cultural background inspired most of his artwork, as seen in his work, Man at the Crossroads, in which Rivera showed North America and the world that humanity as a whole was meant to unite and become greater than God himself. Through his work and connections with other artists, Rivera proved the importance of art as a form of communication and left a lasting effect on the art of today. Diego Rivera’s artistic prowess can be traced back to his youth. Born in 1886 in the city of Guanajuato, Mexico, Diego Rivera came from a humble family.
Aside from being depicted in Mesoamerican artwork, the concept of death in Mexico also tells the story of the imposition of Catholicism on Mesoamerican civilizations during colonial Mexico. Artwork during this time period illustrates images of death, such as a deceased nun, a masked death, devil and devil dancers, and ancient decorated skulls (Carmichael and Slayer 1992, 36). According to Stanley Brandes, scholars often have a difficult time minimizing the role of the Zapotec natives while simultaneously emphasizing on the European origins of the Day of the Dead holiday. Much of the pre-Columbian antecedents steams from the iconography of ancient civilizations living throughout Mesoamerica. This includes its huge amounts of skulls and skeletons during the modern Day of the Dead rituals as well as the variations of the meaning of the skeletal depictions as it differs from region to region.
The first Mural I will be analyzing is The Zapatistas by Jose Clemente Orozco I will also be analyzing The Blood of The Revolutionary Martyrs Fertilizing The Earth by Diego Rivera. I chose these mural’s because I think they Provide a visual to the influence Zapata had on Mexico. Mural #1 The Zapatistas by Jose Clemente Orozco Description: In Orozco’s Mural the zapatistas are seen In bright colors with a dark background This gives contrast for the piece.
Octavio Paz, a Mexican poet and essayist, is one of the many philosophers with a written piece regarding his understanding of Lo Mexicano. Paz’s “Sons of La Malinche” was first published in the Labyrinth of Solitude in 1950 and is a rather grim interpretation of the Mexican character, however, it captures the crisis of identity that Mexico was burdened with after the conquest. Paz uses the Spanish term “chingar,” (when literally translated means “to screw, to violate”) and its associated phrases to understand the conquest and the effect
Known for his defining role in the Mexican Mural Movement, Diego Rivera sought to create paintings that depicted the Mexican renaissance and socialist ideas of Mexican politics. After some time studying in Europe, Rivera was influenced by Italian renaissance artist Giotto to paint using fresco techniques (famsf.org). “Two Women and a Child” serves as an example of the theme he portrays in many of his paintings. While the fresco technique was predominantly used during the Italian renaissance, Rivera revitalized this ideal by including it in his painting of “Two Women and a Child”. Rivera’s use of techniques in Two Woman and a Child provide viewers with an understanding of the strength, pride, and perseverance Mexico had during the Mexican Renaissance.
There are many artists coming from different cultural, social, and economical backgrounds, but out of all these differences, inventive individuals go after a similar goal which is to make creative work. However, there is more to it than making works of art and that is finding purpose or discovering reasons to why the artist is making a piece. Artists may work on an art project that is intended for a smaller group of viewers while other artists may go for a larger audience and it generally comes down to what message the artist is trying to convey. Depending where an artwork is situated in can impact the way a viewer perceives a certain image; this is why it is important for artists to think about the space in which they want to exhibit their
Jose Guadalupe Posada was famous for his satirical prints. After the revolution of 1910 Mexican artist enjoyed unusually strong government patronage and were, as a result, committed principally to the expression of revolutionary ideals. The three internationally acclaimed painters are Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueiros. They produced masterpieces of mural art and initiated a revival of fresco painting. Later in the world of Mexican art and architecture modern Mexican artist continued to make extraordinary variety of works in many styles and techniques.
Narco-culture such as as “narcocorridos” is a type of popular Mexican music that derives from other subculture traditional ballads and corridos. These narcocorridos songs were popular back in the first half of 20th century, because of their relation to the Mexican revolution. The author states that “Corridos told stories about famous revolutionaries in the rhythm of waltz or polka, accompanied by the sound of accordion” (Mertová). The narcocorridos would emerged later and became popular especially in the 1970s themes of drugs. The author states that “Today’s narcocorridos originate from this kind of music, the difference is that they don’t tell stories about revolutionaries but address the topic of drugs and drug culture in Mexico” (Mertova).
In Mesoamerican art, there are many different styles, materials, and iconographic images used to convey different messages. The iconographic images of gods are present throughout different cultures because in many civilizations, the rulers will change but the gods are still the same. While rulers and gods both play large roles in the artworks studied from the Mesoamerican cultures during the Early Preclassic period through the Late Post-Classic period, the depictions of gods and the supernatural hold a greater emphasis than the rulers. The Olmec culture, from the Early Formative to Late Formative time period, was known for having realistic as well as iconic iconographic artworks that were used to describe messages.
Their art is characteristic of house paint, strip club fliers, sparkly stickers, wheat paste, corrugated metal siding, and hand drawn images of nature from their hometowns. A look at their gallery clearly shows the fusion of Mexican and American culture. Personally, I got to like one piece of art. The image painted on metallic bowl like object. It is painted
