Diego Rivera Research Paper

Although Diego Rivera was a Mexican painter, influenced much by his historical roots in Mexico, his contributions to American society throughout the first half of the twentieth century were great. Rivera wanted his art to influence the world enough to change it (Howlett 20). During an era of revolutions in both politics and technology, Rivera was one of the many inspired to create work that was socially radical at the time (Stevens 72). His views of support for Communism, his outlook on Capitalism, and his portrayals of the industrial revolution around the world caught the attention and eyes of entire nations. “Rivera’s work seemed like it was leading directly to today’s cultural wars” (Aguilar 36). Throughout the early 1900’s, Rivera had become

He sought to capture the aura of a subject, concentrating on the unique physical features of an individual (Howlett 2). Over his time as a muralist, Rivera’s style had changed. From Mexico’s realistic, pre-Colombian work (Mujica 30) to abstract modernism learned over in Europe (Howlett 1), Rivera’s signature style was his mastered displays of form and composition, as well as a large concern for texture and his usage of vibrant, contrasting colors (Mujica 29). However, no matter his style, Rivera always managed to incorporate either his political views and stand points or his Mexican background into his work, even if his political views were controversial to the point of igniting riots and harsh criticism around the world. Rivera’s importance was great, and not just to America, but too many other world countries as well. In America, he was a strong, forceful voice in the fight supporting both Communism and Capitalism (Goldstein 50). Through his life, his works have become known worldwide. Diego Rivera’s painting, Man at the Crossroads, reflects his strong stance in standing up for ones beliefs in a style of Latin American Modernism at the high times of Mexican Muralism and the Mexican

The Rockefeller family in New York had hired Diego Rivera to compose a mural in Radio City at the Rockefeller Center in New York City (Goldstein 50). Problems and conflict arose when a portrait of John Lenin, the first leader of the Communist-supporting Soviet Union, appeared in the mural (Goldstein 50). Riots and protests were high in tow as the Rockefeller family ordered Rivera to remove that piece from his mural (Goldstein 50). When Rivera refused, the mural was chipped off the wall and destroyed (Goldstein 50). However, Rivera was determined to complete the mural, but obviously in a different place. (Goldstein 50). After completing his murals at the New Workers School, which included the famous Workers of the World Unite panel, Rivera left the United States and returned once again to Mexico (Neimark 66). There, at the Palace of Fine Arts in Mexico City, he composed a new version of the Crossroads mural, now entitled Man, Controller of the Universe (Goldstein 50). Both works are labeled as having a Latin American Modernism context, the paintings both taking place in the movement of Mexican Muralism, the medium titled as fresco (Neimark