Rivera: 1886-1957: a Revolutionary Spirit in Modern Art (Basic Art Series)

Description

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. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN’s Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions Review: An excellent biography - “Diego Rivera (1886-1957): A Revolutionary Spirit in Modern Art” by Andrea Kettenmann was first published in 1997. Since then it has been reprinted several times. This review is based on a hardcover version from 2015. The author Andrea Kettenmann studied art history in Giessen, Göttingen and Heidelberg before joining the department of art history at the University of Hamburg. In 1986 she visited Mexico on a fellowship and now she lives there, working as a freelance art historian. This biography of Diego Rivera is a volume in a series about famous artists published by the German publisher Taschen. So far, there are 29 volumes in this series. A related series covers different types of art. There are nine volumes in this series. A second related series covers architecture. There are eight volumes in this series. While the book is published by a German publisher, there is no need to worry about the language, because everything in it is in English. The main text is divided into six chapters which follow a chronological line from 1886 when Diego was born until 1957 when he passed away. At the end of the book there is a timeline which covers Diego's life and work. There is also a section called "Notes" with references. Finally, there is a section with photo credits. What about illustrations? The book is illustrated throughout. All paintings are in colour, unless the original happens to be a drawing in black-and-white. Almost every painting by Diego that is mentioned in the text is shown in the book; in most cases, text and illustration are not too far from to each other, which is reader-friendly. Some illustrations are photos. Because they were taken long ago, they are in black-and-white. We cannot complain about that. PART ONE This biography of Diego Rivera covers his life and his career. Obviously, there is a strong focus on his work as an artist. We meet the people around him. His family and his friends. The most important person in her life is Frida Kahlo, who was twenty-one years younger than him. In her he found his soul mate. They were both artists and both belonged to the left wing of politics; sometimes they were members of the pro-Soviet Communist Party of Mexico. They worked in different ways: Diego often painted large murals on walls, while Frida mostly painted small motives on a canvas, but they complemented each other very well. Their styles were also different: Diego often used the history of Mexico as his theme, while Frida often made portraits of herself, but they shared a deep interest in the history of their country. Diego and Frida met in 1928. They were married the following year. In 1939, they divorced, but in 1940 they re-married, and this time they remained together until 1954 when Frida passed away. Perhaps they could not live together, but on the other hand they could not live without each other. They were soul mates. Diego had a long life during which he lived, worked and studied in several countries. At first he was in Mexico. Then he moved to Europe, where he stayed in Spain, France and England. After this he returned to Mexico. Then he travelled to the Soviet Union. After this he returned to Mexico. Then he moved to the United States. After this he returned to Mexico. He had many partners. Sometimes he was married to them, sometimes they just lived together. He also had several affairs. When he had an affair with Frida’s younger sister, Christina, Frida was very upset, but later she forgave him. PART TWO Andrea Kettenmann has written an excellent biography which covers Diego's life and career in great detail. Most importantly, the author shows why Diego is so special; why he is recognised as an artist of international standing. I like this book, and I want to give it a warm recommendation, but I have a few minor quibbles. Let me explain: # 1. In 1936, Frida and Diego had petitioned the Mexican government to grant political asylum to Trotsky, and the Mexican President Cardenas had granted their request. Trotsky and his family arrived in Mexico in 1937 and he remained in this country for the rest of his life. The Mexican artist David Alfaro Siqueiros, who was a friend of Diego's, is mentioned several times. But the author fails to mention that David remained loyal to Stalin, while Diego began to lean towards Trotsky. David was so loyal to Stalin that he was ready to lead an armed attack on Trotsky's "fortress" which took place in May 1940. The attack failed. Trotsky survived, but it was a warning that Stalin was anxious to see Trotsky dead. # 2. Frida and Diego invited Trotsky and his family to stay at the Blue House in Coyoacan (a suburb of Mexico City). They stayed there from 1937 to 1939. In 1939 Diego broke with Trotsky “after a number of personal and political arguments,” and they moved to another house that is known as “the fortress.” But the author fails to tell us what happened to Trotsky afterwards. He was killed by Ramon Mercader, a Stalinist agent who had charmed his way into the building by pretending to be the boyfriend of Trotsky's assistant. In August 1940, when Ramon was alone with Trotsky in his study, he attacked him with a pick-axe. Trotsky died from his wounds the following day. I realize this book is a biography of Diego Rivera and not of Leon Trotsky, but the lives of Diego, Frida, and Trotsky are closely intertwined when we look at the years from 1936 to 1940. Since the author introduces Trotsky, she should also tell us how the story ends and not just leave him hanging in the air. CONCLUSION As stated above, these remarks are minor quibbles. I mention them here, because they deserve to be mentioned, for the record, but I will not allow them to disturb my overall impression of the book. Regardless of these minor quibbles I still think this is an excellent biography and I want to give it a strong recommendation. PS # 1. If you come to Mexico City, you can visit the Blue House where Frida Kahlo was born and grew up, where she lived for a while as an adult and where she died in 1954. Shortly after her death it was turned into a museum that is open to the public. You can also visit “the fortress” on Avenida Viena where Trotsky lived with his family from 1939 and where he was killed in 1940. After his death this building was also turned into a museum that is open to the public. PS # 2. In the centre of Mexico City you can see some of the murals painted by Diego Rivera. In the courtyard of the Presidential Palace you can see several panels which cover five hundred years of Mexican history (several examples are shown in chapter five). In a special museum for Diego, you can see the fascinating mural from 1947 that is called “Sunday Afternoon Dream in Alameda Park.” A detail of this huge painting appears on the front cover of the book and inside the book on page 75. PS # 3. For more information about Frida Kahlo and Diego Rivera, see the following books: ** Frida and Diego by Catherine Reef (2014) ** Frida Kahlo and Diego Rivera by Helga Prignitz-Poda (2015) PS # 4. For details about Trotsky in Mexico, see the following books: ** Trotsky in Mexico, 1937-1940 by Alain Dugrand (1992) ** Stalin’s Nemesis: The Exile and Murder of Leon Trotsky by Bertrand Patenaude (2009, 2010) PS # 5. “Frida” is a 2002 Hollywood movie based on Frida's life. Since this movie is made in the US, all characters speak English, even though they are from Mexico and they should speak Spanish! PS # 6. “The Life and Times of Frida Kahlo” is a documentary film from 2004 that is available online; produced by Daylight Films; run time: 85 minutes. PS # 7. Andrea Kettenmann has also written a biography of Frida Kahlo: the title is Frida Kahlo (1907-1954): Pain and Passion (Taschen, first published 1992, reprinted 2015). PS # 8. There are two chapters about Diego Rivera and his work in the anthology Art and Architecture in the Service of Politics edited by Henry A. Millon & Linda Nochlin (the MIT Press, 1978): ** Stanton L. Catlin, “Political Iconography in the Diego Rivera Frescoes at Cuernavaca, Mexico,” chapter 11, pp. 194-215 ** Max Kozloff, “The Rivera Frescoes of Modern Industry at the Detroit Institute of Arts: Proletarian Art under Capitalist Patronage,” chapter 12, pp. 216-229. Review: Kahlo connection - Well- received gift, about the muralist husband of Freda Kahlo.