Aiding in the promulgation of the Mexican Mural Renaissance, Diego Rivera paintings are mainly big wall works done in fresco. Aside from being a world famous Mexican painter, Diego Rivera is also known for being an active communist and a husband to Frida Kahlo.
Cubism was the initial focus of Diego Rivera paintings. With their simple forms and large patches of colors, they began to shift towards Post-Impressionism, a shift inspired by the Paul Cezanne paintings. As they began to attract the attention of their viewing public, they were ultimately displayed at a number of painting exhibitions.
The first significant mural among the Diego Rivera paintings was Creation, experimentally painted in encaustic in 1922. The subsequent murals Diego painted were in fresco only, dealing with Mexican society and reflected the Mexican revolution of 1910.
On the basis of large, simplified figures and colors, the Diego Rivera paintings reflected a native style development. This started in September, 1922. There was a sprinkle of Aztec influence noted in these paintings as well.
Story telling is a feature of Diego Rivera paintings. A perfect example of this feature in Diego's mural entitled In The Arsenal. In this mural, Tina Modotti is shown holding an ammunition belt while facing Julio Antonio Mella, wearing a light hat and standing in front of Vittorio Vidale, wearing a black hat. The painting was considered by some spectators as evidence that Diego had prior knowledge of Vidale's murdering Mella.
Detroit Industry, a series of 27 fresco panels, consisted the Diego Rivera paintings between 1932 and 1933. Containing a Vladimir Lenin portrait was a Diego Rivera mural in 1933 entitled Man at the Crossroads. This particular mural was retitled Man, Controller of the Universe, after it was repainted in 1934.
Forming the bridge between 19th century Impressionism and early 20th century Cubism were the Cezanne paintings. They laid the foundations for the transition from the creation of artistic endeavour in the 19th century to a new and glaringly different art work in the 20th century.
Paul Cezanne was often referred to as the Father of Modern Art. He is a French artist and a Post-Impressionist painter. There was a mastery of design, color, composition and draftsmanship present in Cezanne paintings. These featured brushstrokes that are repetitive, sensitive and exploratory. This feature is highly characteristic and clearly recognizable as works by Cezanne.
Cezanne paintings used planes of color and small brushstrokes, building up to form complex fields. They are direct expressions of the sensations of the observing eye and abstractions from observed nature. They convey the intense study of subjects by Paul, his searching gaze and dogged struggle to deal with the complexity of human visual perception.
The ideal mixture of naturalistic representation, personal expression and abstract pictorial order is what Cezanne paintings aim at. Because early Cezanne paintings were done in dark tones supplemented by heavy and fluid pigments, they subsequently implied the moody and romantic expressionism imbued by previous generations of painters.
It was a commitment to contemporary life representations that Cezanne paintings eventually developed into. They became Paul's own observation of the world. They were no longer concerned with either thematic idealization or stylistic affection.
Cubism was the initial focus of Diego Rivera paintings. With their simple forms and large patches of colors, they began to shift towards Post-Impressionism, a shift inspired by the Paul Cezanne paintings. As they began to attract the attention of their viewing public, they were ultimately displayed at a number of painting exhibitions.
The first significant mural among the Diego Rivera paintings was Creation, experimentally painted in encaustic in 1922. The subsequent murals Diego painted were in fresco only, dealing with Mexican society and reflected the Mexican revolution of 1910.
On the basis of large, simplified figures and colors, the Diego Rivera paintings reflected a native style development. This started in September, 1922. There was a sprinkle of Aztec influence noted in these paintings as well.
Story telling is a feature of Diego Rivera paintings. A perfect example of this feature in Diego's mural entitled In The Arsenal. In this mural, Tina Modotti is shown holding an ammunition belt while facing Julio Antonio Mella, wearing a light hat and standing in front of Vittorio Vidale, wearing a black hat. The painting was considered by some spectators as evidence that Diego had prior knowledge of Vidale's murdering Mella.
Detroit Industry, a series of 27 fresco panels, consisted the Diego Rivera paintings between 1932 and 1933. Containing a Vladimir Lenin portrait was a Diego Rivera mural in 1933 entitled Man at the Crossroads. This particular mural was retitled Man, Controller of the Universe, after it was repainted in 1934.
Forming the bridge between 19th century Impressionism and early 20th century Cubism were the Cezanne paintings. They laid the foundations for the transition from the creation of artistic endeavour in the 19th century to a new and glaringly different art work in the 20th century.
Paul Cezanne was often referred to as the Father of Modern Art. He is a French artist and a Post-Impressionist painter. There was a mastery of design, color, composition and draftsmanship present in Cezanne paintings. These featured brushstrokes that are repetitive, sensitive and exploratory. This feature is highly characteristic and clearly recognizable as works by Cezanne.
Cezanne paintings used planes of color and small brushstrokes, building up to form complex fields. They are direct expressions of the sensations of the observing eye and abstractions from observed nature. They convey the intense study of subjects by Paul, his searching gaze and dogged struggle to deal with the complexity of human visual perception.
The ideal mixture of naturalistic representation, personal expression and abstract pictorial order is what Cezanne paintings aim at. Because early Cezanne paintings were done in dark tones supplemented by heavy and fluid pigments, they subsequently implied the moody and romantic expressionism imbued by previous generations of painters.
It was a commitment to contemporary life representations that Cezanne paintings eventually developed into. They became Paul's own observation of the world. They were no longer concerned with either thematic idealization or stylistic affection.
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