Diego Rivera: Murals for The Museum of Modern Art 2025 chm pdf kindle rb azw3 下载 115盘

　　In 1931, Diego Rivera was the subject of The Museum of Modern

Art s second monographic exhibition, which set new attendance

records in its five-week run. The Museum brought Rivera to New York

six weeks before the show s opening and gave him on-site studio

space. There he produced five "portable murals" --large blocks of

frescoed plaster, slaked lime and wood that feature bold images

drawn from Mexican subject matter and address themes of revolution

and class inequity. After the opening, to great publicity, Rivera

added three more murals, now taking on New York subjects through

monumental images of the urban working class and the city during

the Great Depression. Published in conjunction with an exhibition

that brings together key works made for Rivera s 1931 show, this

catalogue casts the artist as a highly cosmopolitan figure who

traveled between Russia, Mexico and the United States and examines

the intersection of artmaking and radical politics in the 1930s.

Illustrated with reproductions of each panel as well as related

paintings, drawings, prints and documentary photographs, the book s

essays investigate the international politics of muralism, Rivera s

history with MoMA, the iconography of the portable murals and

technical aspects of the artist s working process.Diego Rivera

(1886-1957) was a central figure in the development of Mexican

muralism, an ambitious public art initiative intended to relay

Mexico s ideals after the Revolution (1910-1920). A highly

cosmopolitan artist, Rivera had spent many years in Europe before

returning to Mexico in 1921, and in 1927 he traveled to the Soviet

Union where he met Alfred Barr, the soon-to-be founding director of

The Museum of Modern Art, New York. Rivera s artistic celebrity

benefitted from major commissions in the United States, including

murals for the Pacific Stock Exchange, the California School of

Fine Arts in San Francisco, MoMA and the Detroit Institute of Arts.

By the 1930s, he enjoyed an unrivaled status at the

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