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Inventing a Mexican Cubism: Diego Rivera in Paris Kelsey Winiarski Grand Valley State University

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Inventing a Mexican Cubism: Diego Rivera in Paris Kelsey Winiarski Grand Valley State University McNair Scholars Journal Volume 16 | Issue 1 Article 12 2012 Inventing a Mexican Cubism: Diego Rivera in Paris Kelsey Winiarski Grand Valley State University Follow this and additional works at: http://scholarworks.gvsu.edu/mcnair Recommended Citation Winiarski, Kelsey (2012) "Inventing a Mexican Cubism: Diego Rivera in Paris," McNair Scholars Journal: Vol. 16: Iss. 1, Article 12. Available at: http://scholarworks.gvsu.edu/mcnair/vol16/iss1/12 Copyright © 2012 by the authors. McNair Scholars Journal is reproduced electronically by ScholarWorks@GVSU. http://scholarworks.gvsu.edu/ mcnair?utm_source=scholarworks.gvsu.edu%2Fmcnair%2Fvol16%2Fiss1%2F12&utm_medium=PDF&utm_campaign=PDFCoverPages Inventing a Mexican Cubism: Diego Rivera in Paris Famed as a muralist, the array of styles in Mexico, but the European focus of that Diego Rivera utilized throughout the academy led Rivera to question the his artistic career has been frequently importance of Mexican styles, themes, overlooked. Rivera’s active participation and motifs in artwork. in Cubism while studying abroad in Paris For most of its history, San Carlos was established him as an international artist a gloomy prisoner of the European who possessed a profound understanding tradition, a condition made worse by of Cubism. His interpretation of the the familiar time lag between mother style was unique; Rivera’s Cubist works country and colony. The School’s explored his Mexican identity while directors were usually imported simultaneously establishing a connection Spaniards, beneficiaries of a policy between Rivera and Mexico through the that was even more rigidly enforced incorporation of Mexican iconography. during the Porfiriato. Right up to Diego’s time, most attempts at creating a Mexican art were discouraged. Thesis Students at San Carlos spent months, Kelsey Winiarski The rigid, traditional artistic training sometimes years, copying classical McNair Scholar that he received in Mexico primed Diego busts or engravings of European Rivera for Cubism. After moving to paintings.2 Paris, Rivera worked closely with Picasso Rivera recognized his Mexican identity to who taught him the logic and process be secondary. The attitude of European behind Cubism. These two aspects of his superiority imposed by the Academy was artistic education allowed Rivera to fully blatant and, as a result, Rivera developed understand the rationale behind Cubism. an inferiority complex. His artwork, Rivera’s Cubist work demonstrated a however, demonstrated a profound profound understanding of the style, understanding of European artistic styles but his deviation in subject matter, color, and techniques. and tone establish a connection between Rivera and Mexico enabling him to Rivera’s Head of a Woman depicts his construct a Mexican identity while still in advanced artistic talent. The one-point xenophobic Paris. perspective and shading in this sketch, a copy of a classical bust, proves Rivera’s skill. His acute attention to facial details Early Life gives the woman a soft, tranquil look. He Kirsten Strom, Ph.D. Born in 1886, Rivera was encouraged already demonstrates in this portrait a deft Faculty Mentor to explore his artistic talents from a young touch, acute observation, and seemingly age. “As far as I can remember,” he effortless aptitude for evoking a sense later wrote, “I was drawing… my father of volume that would all be developed set aside a special room where I was further into hallmarks of his most allowed to write on anything I wished.”1 noteworthy paintings.3 Rivera showed advanced artistic skills; This focus on realism promoted by his mother, not wanting this talent to go the academy was limiting to its students. to waste, enrolled him in evening classes The enforcement of traditional techniques at the National Academy of San Carlos often made students less receptive to in Mexico City at the age of seven. Mexican art as well as contemporary art The National Academy of San Carlos movements occurring in Europe. San provided the necessary structure and Carlos restricted students by focusing on training to become a successful artist the realist qualities evident in classical 1. Pete Hamill, Diego Rivera (New York: Harry N. Abrams Incorporated, 1999), 3. 2. Ibid., 18. 3. David Craven, Diego Rivera As Epic Modernist (New York: G.K. Hall & Co., 1997), 9. 72 GVSU McNair Scholars Journal and renaissance artwork; students were the lessons of Rebull and Velasco as building Pombo, a popular location for artists and unaware of the experimentation with blocks to his work, he demonstrated a writers. Despite feeling like an outcast, abstraction happening in Europe. mastery of painting. Rivera abandoned he eventually befriended two mondernista Rivera worked with Santiago Rebull the European emphasis of subject matter writers: Ramon Gomez de la Serna and and Jose Maria Velasco during his last few promoted by San Carlos and reaffirmed his Ramón del Valle-Inclán. His introduction years at the academy. These two professors Mexican identity though the depiction of to avant-gardism through these two were crucial to Rivera’s artistic education; Mexican farm workers amidst a Mexican writers inspired a more abstract style in their training tremendously influenced landscape. Rivera rendered La Era in a Rivera’s work. him. The rigorous instruction that Rivera European style, the acute attention to detail The traditional training that had been received from his professors, primarily and the realist quality is reminiscent of the instilled in Rivera in Mexico continued Santiago Rebull and Jose Maria Velasco, European work that he studied and copied to manifest itself within his works, but his primed him for Cubism by providing the in San Carlos. However, Rivera began to art continued to become more abstracted education to understand the movement juxtapose Mexican subject matter within after his exposure to the avant-garde. both logically and creativity. The emphasis a European style. This embracing and A closer examination of two of his self- on composition, proportion, and space acceptance of his heritage continued to portraits gives insight to the impact that that Rebull placed on Rivera’s work made play an important role in defining Rivera the avant-garde had on Rivera’s work. A a momentous impact on his artistic process as a person and artist during his time spent comparison between Self Portrait of 1906 and style. According to Hamill: abroad in Europe. and Self Portrait of 1907 affirms Rivera’s Rebull also introduced Rivera to During his final year at San Carlos, break away from his traditional training composition, emphasizing the use of Rivera applied for a fellowship to study in Mexico and his experimentation with the Golden Section…the elevation abroad in Europe. Despite struggling an avant-garde style. Accentuating facial of geometric pseudo-formula with the traditional European focus of features, setting, and emotion, Rivera’s Self was another example of the way San Carlos, Rivera understood that this Portrait of 1906 demonstrates his utilization the philosophy of positivism was opportunity would hone his artistic skills. of his traditional training; he continued to permeating most aspects of Mexican In 1906, Teodoro Dehesa, the governor paint in a realistic style. In Self Portrait of education, even the artists. The effect of Veracruz, granted young Diego a small 1907, Rivera began to utilize the avant- on the boy was clear: he was learning scholarship to study abroad in Europe. garde style through facial ambiguity and that there were rules and scientific Rivera received this scholarship with the a painterly technique. The painterly style principles behind everything. Through understanding that he would send one of the work and the treatment of the face his life, both in his Cubist phase and in painting home a month to prove that he demonstrate a loosening of the artistic his commitment to Marxism, Rivera was working. Rivera concluded that Spain principles instilled in Rivera at San Carlos. continued to insist on the presence would be an appropriate country to start With its splendid silhouetting, earthy and of rules.4 his studies considering that he already heavily impastoed application of pigment, knew the language. Rivera departed for starkly faltering light/dark passages, and These emphases combined with Velasco’s Spain at the end of 1906. restrained palette based on variations logical approach to art instilled a solid of reddish brown, this self-portrait also artistic foundation in Rivera upon which reminds us of the neoromantic tenor that his Cubism was later built upon. As Jean Move to Spain resonated in much late nineteenth-century Charlot wrote, “His [Velasco’s] severely Rivera arrived in Spain in 1906 with and early twentieth-century modernist logical approach to optical problems aspirations to achieve success and fame painting from Europe.7 This abstraction, prepared the adolescent for the further in Europe, but his later reflection of this though subtle, marks a significant 5 rationalizations of Cubism”. period reveals his inner struggle with his modification in Rivera’s style opening him La Era demonstrates Rivera’s artistic talents. He stated, “The inner up to more abstracted styles. application of these principles. La Era qualities of my early works in Mexico were Between 1906 and 1908, Rivera deviates from his other work at San Carlos gradually strangled by the vulgar Spanish habitually visited museums in Madrid. His through the choice of subject matter. The ability to paint. Certainly the flattest and primary focus of study was Spanish masters, emphasis on realism, composition, and most banal of my paintings are those I did such as El Greco, Goya, and Velázquez and 6 proportion is apparent, but the subject in Spain in 1907 and 1908.” This cultural the Flemish artists Bosch and Breughel. He matter is distinctly Mexican. This painting and geographical shift had negative became particularly absorbed in El Greco, marks an important advancement in implications; Rivera felt isolated. He lived and under the influence of fellow Mexican Rivera’s artistic career; he has transformed in the Hotel Rusia on Calle Carretas.
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