|A large and satisfying Diego Rivera sketch in charcoal at La Vida Americana at the Whitney. Museum Link
|Diego Rivera, Flower Festival: Feast of Santa Anita, 1931
Such a gorgeous painting! Look at its value structure and find the mask.
|Kahlo with parrots
|Etching by Rivera
|Early Rivera on a hot pink wall
|Fresco - the rhythm! How rhythmic group scenes--Duccio, Poussin, David--resonate throughout the history of painting.
|Orozco: a mural semi-recreated in print at scale.
|Orozco - a smaller, framed work that speaks to the blistering imagery so broadly used, now been replaced by journalism.
|The crops were left to dry and rot. There was nobody left to tend them.
|Apartments were bombed to get tenants out--specifically African American tenants.
|Kerry James Marshall's great inspiration Charles White.
|Orozco: Study for Ancient Human Sacrifice, 1930-34
|David Alfero Siquieros: Zapata, 1931: champion of the poor.
|Guston's Bombardment, 1937-8. A structural feat clearly related to Siqueiros' influence: glorious to see the relationships in context.
|Proletariat Mother by Siquieros. An acclaimed muralist, he arrived in the US in 1927.
|Guston's exquisite Study for Queensbridge Housing Project, 1939.
|A gem by Thelma Johnson Streat, The Negro in Professional Life--Mural Study Featuring Women in the Workplace, 1944
|Another deeply satisfying Rivera study, 1933
|On a Thursday afternoon there were no less than five discussion groups throughout the show. How wonderful to sit and discuss the paintings in a group, surrounded by them. The museum is no longer a chapel.
|Siqueiros developed the Experimental Workshop near Union Square in 1934, claiming artists could not paint current times with the techniques and materials of the past.
|Everyman: late Siqueiros.
|Siqueiros, The Electric Forest, 1939, Nitrocellulose on cardboard.
|Pollock's Landscape With Steer, 1936-7, made in Siquerios' Workshop, claiming it inspired Pollock's innovative pouring and staining.
|The inclusion of Pollock and his teacher, Thomas Hart Benton, is one of the curatorial surprises in this exhibition. The relationship to Mexico and its artists who traveled to the US ground a deep visual tradition not clearly recognized in the US.
|Siqueiros, 1947, Our Present Image
|Mexico City, January 2020: the Diego Rivera Murals at Palace Museum, Zocalo.
|Rivera was hired by the Mexican government in 1929 to decorate the Palace Museum after the Revolution. The purpose of the murals was to champion Mexican culture after Spanish colonial rule.
|The opulent Maximalism, shift between grisaille border and stacked-space compositions, and integration with architecture in these murals is astounding. Not to mention the Venetian Red.
|Art and architecture and life fuse as one.
|And now the entire history of Mexico in the lower stairway, dividing Mexico into past, present, and future as a structure. The historic panel featuring Frida and her sister Cristina, as well as Lenin, represents Mexico's future.
|The mural spans the Aztec period and colonial rule under the recently ousted Spanish leader Porfierio Diaz as well.
|The fusion of art and life is thrilling.
|And now, Propeller Man at La Palacio des Bellas Artes.
|Other murals as well