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University of New Mexico UNM Digital Repository Art & Art History ETDs Electronic Theses and Dissertations 5-1-2012 Diego Rivera at the San Francisco Art Institute Hilary Ellenshaw Follow this and additional works at: https://digitalrepository.unm.edu/arth_etds Recommended Citation Ellenshaw, Hilary. "Diego Rivera at the San Francisco Art Institute." (2012). https://digitalrepository.unm.edu/arth_etds/16 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Art & Art History ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. i DIEGO RIVERA AT THE SAN FRANCISCO ART INSTITUTE by HILARY ANN ELLENSHAW BACHELOR OF ARTS ART HISTORY UCLA 2007 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts Art History The University of New Mexico Albuquerque, New Mexico May, 2012 ii DEDICATION This thesis is dedicated to my grandmothers, Mary and Bobbie. iii ACKNOWLEDGMENTS This thesis would not have been possible if it were not for my mentor Dr. David Craven, who unexpectedly passed this year. He taught me about methodology and having passion for scholarship, and I am grateful I was able to work with him. I would like to thank my committee members, Dr. Holly Barnet-Sanchez, Dr. Joyce Szabo, and Dr. Adrian Johnston, not only for their guidance with this project but for shaping my graduate school experience thus far, and particularly their work through this semester. Thanks go to Tim Drescher for helping me to formulate my assertions early on. And thanks to SFAI head librarian Jeff Gunderson, for enthusiastically assisting me with my primary source research. I would like to acknowledge the following people for their support. I am proud to call each of you a friend: Xuan Chen, Dickie Cox, Corey Dzenko, Fred Hintze, Gustavo Larach, Maxine Marks, Katie Morgan, Ann Nihlen, Emmanuel Ortega, Maria Otero, Judy Shane, Irene Tibbits, Cedra Wood, and Angelique Zerbach. My family members, Harrison, Christine, Michael, Lynda, Bear, and Julie were also crucial to my success. Last but never least: I am especially grateful to Lucas Nihlen for his unconditional allegiance. iv DIEGO RIVERA AT THE SAN FRANCISCO ART INSTITUTE by Hilary Ann Ellenshaw B.A., Art History, UCLA, 2007 M.A., Art History, University of New Mexico, 2012 ABSTRACT This thesis explores ways in which the mural The Making of a Fresco Showing the Building of a City at the San Francisco Art Institute by Diego Rivera (Mexico, 1886 – 1957) in 1931 potentially affects the viewer. The main question I am addressing is why did Rivera‟s visual language not communicate clearly to his United States audience? Was it a misuse of icons, a misreading, or an intentional dismissal on the audiences‟ part that caused the mural that is based on a Marxist philosophy of art and labor to go completely undetected in the United States press? I conclude it was the latter, that critics and journalists did not want to reveal the progressive message of the mural and instead focused on its formal aspects. The evidence provided is original research of the newspaper coverage at the time of the unveiling of the mural as well as the scholarship done on the mural since. In addition to an examination into the formal qualities of the fresco, I also look into the history of the mural and discuss the way the San Francisco Art Institute has alternately hidden and promoted it over the eight decades of its existence. v TABLE OF CONTENTS Introduction………………………………………………………………………...…….1 Chapter One: Formal Analysis…………………….…………………...........................5 Chapter Two: Existing Scholarship on the Mural….……………………..…………....33 Chapter Three: Reception ………………………………………………………..……46 Chapter Four: History………………………………………………………………….69 Conclusion………………………………………………………………………………93 Figures………………………………………………………………………………….103 Bibliography………………………………………………………………………..… 114 vi Introduction The mural The Making of a Fresco Showing the Building of a City from 1931 by Diego Rivera demonstrates, from a Marxist perspective, that art and labor shape human history. This mural, which exists in the public sphere of an art gallery within an art school, informs the viewers that design, architecture, sculpture, fresco making, steel construction, and business practice each provides an equally important function in society. While using multiple visual languages Rivera‟s work communicates to a wide audience that vocation is a societal creation that contains created hierarchies. Within a Marxist framework, the mural describes a society without hierarchies and shows that it is possible in praxis. The mural is self-referential in form and content, making it a modern work. This also provides a universal and transhistorical message for the viewer, one that can be understood by many to be about many. In discussing the original reception of The Making of a Fresco and its history I will separate my analysis from that of others, thereby positioning myself within the current scholarship specifically on this mural by Rivera. What I argue in this thesis is that when the mural was unveiled the press focused primarily on Rivera as a person and not on his work. The mural was not analyzed thoroughly, nor was its message discussed in a meaningful way. It was described formally and was treated as if it was decorative. Rivera was called a communist and a capitalist at the same time. While his work incited much discussion the journalists and critics did not seem to understand it. An explanation for these contradictions is the possibility that the writers were not willing or interested in discussing society in non- hierarchical terms, or understanding that art and manual labor can be perceived as equal 1 in social practice. This is demonstrated by the later treatment of the mural, which was covered over and ignored by many administrations of the San Francisco Art Institute, indicating they were unwilling to be associated with a controversial message. Also, perhaps they did not understand it because it was unlike anything an art audience in the United States had seen before, in form or message. It is important to understand the specific local reaction to the mural at the time. If something is upsetting because it goes against societal norms, very often the society will try to dismiss it so that it will go away. This was done with The Making of a Fresco when U.S. journalists attacked Rivera‟s work formally as well as his personal politics, and refused to address the Marxist message in his works and his complicated relationships with his patrons. They claimed that Rivera was a puppet and propagandist. His open criticism and blatant satire in The Making of a Fresco is evidence that he did not support or idealize big business. In the first chapter I discuss the formal analysis of The Making of a Fresco. I describe the physical experience of viewing the piece. The iconography is then broken down, describing each symbol and human figure and their historical significance. I then relate that to the Cubist visual language that Rivera is utilizing. I define Rivera‟s work as modern because of its self-referentiality and further explain how that creates a shifting meaning for the audience. The self-portrait that Rivera incorporates and its multiple meanings, and I argue that it can be read as a criticism of his patrons in a satirical way. In closing I argue that the mural is a Marxist treatment of the topic of labor and class. In the second chapter I discuss the different formal analyses in the current scholarship on The Making of a Fresco and in doing so I place my argument in the larger 2 discussion of this work. I look at biographers Bertram Wolfe and Patrick Marnham as well as scholars Anthony Lee and Alicia Azuela. The latter provide evidence for the arguments regarding Rivera‟s treatment of the proletariat as a subject matter in his frescos. I bring up how the scholars David Craven and Anna Indych-López discussed Rivera‟s Cubism. I analyze the symbol of the airplane in the skyline of the mural, and other planes in Rivera‟s American murals, something which has not been written about extensively. I compare and identify the different planes and I conclude that they reference specific historical moments and therefore represent American ingenuity. After describing the scholarship I conclude that much of the research done on this mural is limited to an iconographic analysis or a biographical account of the artist. In the third chapter I look at the reception that the mural receive the United States press when it was unveiled. I delve into historical accounts of the mural commission to give background concerning the reasons for the misreading presented in the media, such as the protests from local artists and the U.S. government. I lay out the generalizations and gross fabrications by journalists regarding the mural, Rivera, and his other work. Rivera‟s relationship with his patrons and the California community is described as well. I go into detail about each newspaper‟s coverage of the mural‟s unveiling and demonstrate how and why they misunderstood the mural as simply decorative and did not view it as a comment on labor and art. I then discuss the academic scholarship‟s portrayal of this unique moment in the mural‟s history, and place their conclusions next to mine. In the fourth and final chapter I offer the history of the mural from its unveiling to the present day, describing how it has been rejected and accepted at different points in 3 time by its owner, the San Francisco Art Institute. I go over the various attempts to preserve and conserve it and the vandalism and alternations that have been done to the fresco.

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