The Museum of Modern Art in New York is presenting (till 5/14/12) an awesome exhibit right now showcasing some of Diego Rivera’s murals. Rivera’s work and the social/political implications behind it are a theme I have come across quite frequently in college (Spanish major, go figure) but this exhibit synthesized a lot of information and introduced me to some amazing paintings I hadn't seen before.

The introduction to the exhibition explains how Rivera had a very successful showing at MoMA in December of 1931 (so like 80 years ago). He came to New York and was given the studio space and materials to make five “portable murals” about Mexican history, and he also made three about New York City. The current exhibit brings 5 of the 8 together, along with supporting materials.

The physical problem with murals

If you were an artist and your art was painted onto buildings and walls, it would be awfully hard to showcase them together wouldn’t it? And think about if you wanted to do this in a museum, or better yet, in a different country?

I had never thought of this problem. The exhibit shows an X-ray of what the murals are made of. Diego Rivera and his assistants actually created portable murals for the 1931 exhibit, which were a combination of traditional Italian fresco on the surface and an industrial mix of metal and cement to back them. This is how he was able to have exhibits at museums like MoMA but preserve the medium he was used to. Italian renaissance style with modern construction!

Four distinct countries shape Rivera's work

Rivera traveled to Italy in the 20's and that's where he picked up his fresco technique as well as his Renaissance style. Not surprising. Italy, in both real life and literature, is always a catalyst for self-expression and the exploration of big life questions. This is a theme especially prevalent in the German tradition (think Tonio Kröger by Thomas Mann).

The thrust of Rivera's work, or at least everything I have studied, centers on Mexico. Many of Rivera's murals depict scenes from Mexican history, and helped to form an image for the identity of the Mexican people during and after the Revolution. In this exhibit, I saw a piece I had never seen before, called Guerrero indio, or Indian Warrior. I love this painting. I think the placard described it as depicting a "righteous kill" and that is really what I feel when I see it.

Another thought-provoking piece from the collection was El levantamiento, or The Uprising. It appears anachronistic- a modern day woman in a skirt and heels with a baby in her arm shielding herself and a farmer from the bayonet of a soldier. The woman is also extremely masculine looking, it made me think of the portrayals of Soviet woman in USSR labor propaganda.

Rivera, a staunch communist, toured the USSR in the 30's and produced art with Soviet and industrial themes. Some of these were on display at the exhibit. I could see the communism seeping through in his depictions of crowds of people and soldiers. There was one painting (from his sketch book) of soldiers marching, all identical, even down to the arches in their backs.

The biggest surprise for me was to see that Rivera created a series of murals about America, specifically New York City. He was fascinated with industrialization and the rise of American cities (literally, in the sense of skyscrapers in NYC). The superior painting in this collection was Fundos congelados, or Frozen Assets. It is a social commentary on the economic inequalities of American society during the 30s.

The controversy of the Rockefeller mural

This is such an intriguing story of both Rivera's biography and America’s anti-communist history. Rivera was commissioned to paint a mural in Rockefeller Center that had to do with the progress of man in anticipation of a better future. Rivera’s mural included a picture of Lenin. Imagine an image of Lenin in the physical apex of American capitalism? Oops. Rivera was begged to take Lenin out of the piece so it could stay, but he refused, and so the mural was destroyed.