Революционный дух в современном искусстве. Диего Ривера (1886–1957) — громкая личность на исторической сцене искусства. Имея набожные политические принципы и бурную романтическую историю, он был одновременно мужем и паладином Фриды Кало, защитником и противником сталинского Советского Союза, а также освободителем и предателем Льва Троцкого. Яркие, графические и часто монументальные картины Риверы несут тот же живой политический и страстный заряд, что и его личная биография. Сочетая европейские влияния, такие как кубизм, с социалистической идеологией и возвышением местного и народного наследия Мексики, он создал новую иконографию для истории искусства и для своей страны. Он стал одной из самых важных фигур в мексиканском движении настенной росписи и получил международное признание за свои публичные настенные росписи, в которых он представил утопическое, но доступное видение постреволюционной Мексики. В 1931 году Ривера стал героем второй монографической выставки МоМА. Эта книга исследует уникальное сочетание влияния и идеологии, которые обеспечили Ривере место как уникального и универсального художника, связанного с особым бурным опытом Мексики начала 20-го века, и все же озабоченного такими темами, как революция и классовое неравенство, которые продолжают говорить. нам сегодня. Андреа Кеттенманн изучала историю искусств в Геттингене и Гамбурге, прежде чем поступить на факультет истории искусств Гамбургского университета. Она много публиковалась о Фриде Кало и участвовала в многочисленных выставках и каталогах. Она работает внештатным историком искусства в Мехико, где живет уже много лет.
A revolutionary spirit in modern art. Diego Rivera (1886–1957) is a loud presence on the art historical stage. With devout political principles and a turbulent romantic history, he was at once husband and paladin of Frida Kahlo, advocate and adversary of Stalin’s Soviet Union, and liberator and traitor of Leon Trotsky. Vibrant, graphic, and often monumental, Rivera’s paintings carry the same live political and passionate charge as his personal biography. Fusing European influences such as Cubism with a socialist ideology and an exaltation of Mexico’s indigenous and popular heritage, he created a new iconography for art history and for his country. He became one of the most important figures in the Mexican mural movement and won international acclaim for his public wall paintings, in which he presented a utopian yet accessible vision of a post-revolutionary Mexico. In 1931, Rivera was the subject of MoMA’s second ever monographic exhibition. This book explores the unique blend of influence and ideology which secure Rivera’s place as both a unique and a universal painter, bound to the particular turbulent experience of early 20th century Mexico, and yet preoccupied with subjects such as revolution and class inequity which continue to speak to us today. Andrea Kettenmann studied art history in Göttingen and Hamburg before joining the art history department of the University of Hamburg. She has published widely on Frida Kahlo and has contributed to numerous exhibitions and catalogues. She works as a freelance art historian in Mexico City, where she has lived for many years.
A revolutionary spirit in modern art. Diego Rivera (1886–1957) is a loud presence on the art historical stage. With devout political principles and a turbulent romantic history, he was at once husband and paladin of Frida Kahlo, advocate and adversary of Stalin’s Soviet Union, and liberator and traitor of Leon Trotsky. Vibrant, graphic, and often monumental, Rivera’s paintings carry the same live political and passionate charge as his personal biography. Fusing European influences such as Cubism with a socialist ideology and an exaltation of Mexico’s indigenous and popular heritage, he created a new iconography for art history and for his country. He became one of the most important figures in the Mexican mural movement and won international acclaim for his public wall paintings, in which he presented a utopian yet accessible vision of a post-revolutionary Mexico. In 1931, Rivera was the subject of MoMA’s second ever monographic exhibition. This book explores the unique blend of influence and ideology which secure Rivera’s place as both a unique and a universal painter, bound to the particular turbulent experience of early 20th century Mexico, and yet preoccupied with subjects such as revolution and class inequity which continue to speak to us today. Andrea Kettenmann studied art history in Göttingen and Hamburg before joining the art history department of the University of Hamburg. She has published widely on Frida Kahlo and has contributed to numerous exhibitions and catalogues. She works as a freelance art historian in Mexico City, where she has lived for many years.
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