Pan American Unity: Diego Rivera’s Dramatic Interlude With Trotsky
Elsie Casler
“I believe in order to make an American art, a real American art, will be necessary this blending of the art of the Indian, the Mexican, the Eskimo with the kind of urge which makes the machine, the invention in the material side of life, which is also the artistic urge-the same urge primarily but in a dfferentfomz of expression.” -Diego Rivera in conversation with Dorothy Puccinelli
isual art has the ability, as no other medium has, to synthesize and concentrate in potent symbolic form the events of an era. Viewing a piece of art can have the sensory effect of V transporting the observer to another time as if through a portal to another dimension. Tn 1940 Diego Rivera, the renowned Mexican artist and muralist, created such a work of art when he painted the Pan American Unity Mural, which is now housed in the lobby of the Diego Rivera Theater at San Francisco City College. Timothy Pfleuger, one of San Francisco’s premier architects, commissioned Rivera to paint the mural for the Golden Gate International Exposition (GGIE) that was held on Treasure Island during 1939-40. His work was the centerpiece of the Art In Action exhibit that featured many different artists engaged in creating works during the Exposition while the public watched. At the time that the mural was created Diego Rivera was perhaps the most famous Mexican artist in the world. He was friends and colleagues with major players in the international art world, such as Pablo Picasso and André Breton, and he lived his own life, like his personal dimensions, in large, broad flamboyant strokes. Rivera’s Pan American Unity Mural is both a time capsule of the events that surrounded its creation as well as representative of the evolution of the ideology that underlay the Mexican Muralism Movement as understood and experienced by Rivera. The mural is constructed in five panels that are ordered from left to right. Panel One’s theme is “The Creative Genius of the South Growing from Religious Fervor and the Native Talent for Plastic Expression.” This panel is cross-referenced with Panel Five’s theme, “The Creative Culture of the North Developing from the Necessity of Making Life Possible in a New and Empty Land.” Panel Two’s theme, “Elements from the Past and Present” cross-references Panel Four’s which is, “Trends of Creative Effort in the United States, The Rise of Woman in Various Fields of Creative Endeavor Through her Use of the Power of Manmade Machinery.” Finally, the central and third Panel represents the overarching theme of the mural, “The Plastification of the Creative Power of the Northern Mechanism by Union with the Plastic Tradition of the South.”1 The intricacy of the mural lies in the reflexive quality of the outer panels that lead the viewer’s eye to the central panel containing the artist’s underlying intent and overarching theme of Pan American Unity. While the biography of Rivera by Patrick Mamharn and Anthony Lee’s examination of San Francisco’s Public Murals painted during the 1930s and 40s, Fainting on the Left, present the Pan American Unity mural in some respects as a lesser work of the artist, the mural is nonetheless an important historical document in regards to its symbolism and content. The themes presented in the mural are universal and as large as the events that engulfed the world, as well as Rivera’s personal life, during that time. His stormy and passionate marriage to Frida Kahlo, a famous artist in her own right, as well as his relationship to the world of revolutionary politics a
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from Jefferson rededicating the Mexico enough Lincoln images This price liberty was seriously threatened by events in Europe and elsewhere. The tree of liberty must have appeared to be in danger of being pulled up by the roots. Vasconcelos’ work, which was published in 1924, stated prophetically that “there is a certain fatality in the destiny of nations, as well as in the destiny of individuals, but now that a new phase of history has been initiated, it becomes necessary to reconstruct our ideology and organize our continental life according to a new ethnic doctrine.”5 According to Vasconcelos, this doctrine was one that the nation of Mexico was predestined to obey as “the cradle of a fifth race into which all nations will fuse with each other to replace the four races that have been forging History apart from each other.”6 This philosophy would be broadcast in the images of Mexico’s history depicted in murals on public buildings. In his role as minister of education under Obregón, the development of the Revolutionary Art Movement, as epitomized by Mexican Muralism, would be the vanguard of a pictorial education for the masses. It would go hand in hand with Vasconcelos’ literacy program for the proletariat and peasant classes. The Ministry’s patronage of the Muralists would be “a means of fostering pride in the achievements of the people.”7 Such a pictorial course was approved by the state, regardless of the more radical views depicted in the murals by the artists. A visual attack was believed necessary to jump-start the process of legitimizing revolution for the traditionally conservative peasants. Educating the illiterate segments of the population to their role in a society transformed by revolution was the job of the Muralists. Their work “served to consolidate a state ideology of common citizenship and progressive nationalism.”8 The atmosphere that informed and encouraged Rivera’s work as well as the work of his fellow members’ in the Syndicate of Technical Workers, Painters, and Sculptors was one of celebration of all things mestizo, but more specifically Indian. José Clemente Orozco writes in his autobiography that within Mexico in 1920
excitement over the plastic work of the contemporary indigenes was at its height. .Extreme nationalism put in an appearance. Mexican artists considered themselves the equals or the superiors of foreigners. Their themes had necessarily to be Mexican. The cult of the Worker was more sharply defined: ‘Art at the service of the Worker.’ It was believed that art must be essentially an offensive weapon in the Conflict of the Classes.”9
MI of this was incorporated into and a product of the official philosophy of the post-revolutionary government in Mexico and it was the foundation for continued government support of the muralists’ projects as well as represented in much of their work. Unfortunately, from the rule of Obregón to that of Cardenas and beyond, Rivera’s and Vansconcelos’ idealism was betrayed by the official reality. Besides some land distribution and nationalization of private industry under Cardenas, the power in Mexico remained in the control of caudillos who represented the criollo/mestizo upper class. Basically the government was still an oligarchy consisting of new landowners and entrepreneurs. The most successful aspect of institutionalizing the idea of the Revolution in Mexico would be the Muralist project, but the very success of such openly critical and radical art would be an embarrassment to the ruling class in Mexico. Such tensions would push artists like Rivera to broaden these sentiments beyond the nationalist intention that underlay the state sponsorship of muralism in Mexico. By the time of Rivera’s work on the Pan American Unity Mural these sentiments would have blossomed fully. Yet, homage is paid to the motivating ideology, depicted in Panel One of the Pan American Unity Mural, with echoes of the Indigenismo movement loudly proclaimed. Man Knight explains the depth of meaning that the representation of Indian culture had for the Mexican Muralists in his essay, “Racism, Revolution, and
3 Indigenisino: Mexico, 1910-1940.’ It was these artists who were the “most celebrated representatives of this new official philosophy.. .who provided pictorial affirmation of Indian valor, nobility, suffering, and achievement, which they set against a revived black legend of Spanish oppression.”° Although little real positive effects would result from this message of respect for Indians, the Muralists, like Rivera, who included this idea in their works of art, embraced the elevation of all oppressed people as part of their personal revolutionary philosophy. It is striking then, when looking at the Pan American Unity Mural, to observe the contrast in the overall image presented by Rivera of pre-contact Indian cultures and Latin-American crafts people hard at meaningful work, to the myth current in the United States in 1940 that branded Mexicans with the racist stereotypes of laziness and thievery. This was the favorite propaganda used by a nation with a guilty conscious. In 1848 the United States acquired, some would say it had stolen, the southwest territories that included California from Mexico. It seems a straightforward commentary on the racist views held in the United States towards Mexico and with which Rivera would have been well acquainted. On another level, as Anthony Lee points out, the artisans depicted can be read as being engaged in the task of merely manufacturing tourist items, thus ironically gesturing for the observer and visitor to “The Pageant of the Pacific” to see the “ethnic entertainment and native commodities” as the demeaning of indigenous tradition.” Rivera is able to make this statement subtly by using his imagery on multiple levels and this gives profound sentiment to the mural. This belies Patrick Marnham’s comment about the mural found in his recent biography of Diego Rivera, that “Pan American Unity is outstanding illustration...but it does not move us.”12 if one considers the fact that the portrayal of Indian civilization in the mural is at one and the same time a reflection of the Indigenismo movement of post-revolutionary Mexico, central to the theme of unity between the American North and South as the origin of the gifts that the South has to contribute, as well as the mural’s silent commentary on the racism generally exhibited towards Latin America by the United States, it becomes hard to countenance Mamham’s statement of disregard. The images of Women, Workers, Peasants, Artists and Crafts people, although perhaps not as strident as similar images in other murals by Rivera, do carry a quiet dignity that stands in mute witness to the depth and complexity of the imagery. Throughout the mural these everymen and everywomen are a reflection of the evolution of Rivera’s understanding of revolutionary ideology. In this regard it is interesting to also note the relative absence of people of color from the part of mural concerned with the North’s contribution. The commentary that this absence makes on race relations in the United States is biting, but not overt. The only person of color is depicted in Panel five and appears to be a mission Indian laborer, but his face is downcast and indistinct and he works at a mill wheel without relief. Directly under this image is further commentary on the subjects of race and class in the image of a wood carver making a Cigar Store Indian. The wood carver is mirrored above in Panel four by the representation of a masthead carver, who in the age of industrial technology has become as extinct as the native culture of the North that the wooden Indian in traditional dress symbolizes. There is thoughtful complexity to the Pan American Unity Mural that is multi-layered in its symbolism and as politically conmiitted as Rivera’s other murals, although perhaps not as rigidly married to specific ideology. This low-key approach may have been intentional on the part of Rivera in order not to antagonize the United States’ own view of itself as a guardian of liberty and democracy. His hope that the United States would enter the war against Hitler’s Germany might have encouraged him to broaden the philosophy beyond Vasconcelos’ nationalist vision to incorporate all the Americas into a unified whole dedicated to resisting fascism and totalitarianism. Rivera was an internationalist by virtue of his personal travels and experiences as well as his choice of political affiliation. This fact stemmed as well from the parallel evolution of the two revolutionary societies of Mexico and Russia and Rivera’s experiences in both. He was a founding member of Communist Party of Mexico in 1922. following a version visit direction of Writers in co-author, independent an clarifies
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understanding
under
dearly
was
in who
and
of USSR neotraditionalists By with in
Contrary
believed
would
On Francisco, politics When major into targeted
no back it who
where
had
of
that
totalitarianism
Trotsky
paid
come
1927,
certainly absolutist Rivera and fact
frescos Supporters Calles, Europe, monkeys.’9
Rivera undecided
Rivera
level public worker
have experimental
Artists comprehensible
to surrounded capitalist whom
and inappropriate.
patron had Certainly, not that When experiences made his danger deliver
amused.
like personally the the were submarine needed indeed collaboration conflict was exile, aggression international awareness to Cardenas inundates suspicions the of totalitarianism. experiment, and to Dictator” murder
be
Pan begin
fellow
holocaust. detract
guise time.
Americas
a
Mussolini. Max
ever
him
literally
perfect
he Trotsky,
As
of
Thaelmann filled As permitted in Unfortunately,
when
American
Given
a
to
weapon
as
the
visited
speech
a Hitler
of
as
by
German
the Ernst question and has
he enter
threatening
refueling
present
from
few
Pact about of
the
of
Lee Loyalist
mural was
Charlie
intrigue,
Hitler
left, vehicle
with
with
share,
viewer
stalking
this
already
Rivera GPU
his
Hitler
it
years..
much
the it It
the that
Berlin of were
Stalin, contends
Hitler
in
Unity now
is
his
Hitler’s
is
these
comrades
in
atmosphere
inexplicable was
and
forebodings.
in
absolute
and
1939.
ship front
war
Rivera’s
not
as
also was Chaplin,
for (the
with
refugees
Mexico
prior
government’s
would
San
his to much
been
25 earlier him,
escaping
the
Rivera
Meunzenberg to
in
it
the
who Stalin
forces
surprising
this
in
the
anchored
wielded a
intuition of does leave
followers
Soviet
here,
Francisco. multitudes
1928,
murderer
contrast
This
order
to
his
discussed,
most
artist.
obedience of
purpose. become referred
commitment
the
at than
whom
at depicts
WWII.
who
agreed
of
of
so
loved
which
this
it one
support
similar
five
event
the
headquarters
for
tyranny.
by secret
indirectly uncertainty was
powerful
I under his
would
that
Gestapo
to had
loyalty,
place
closed
point had
Rivera
of time.28
familiar
a to conflict
years
ones,
of
laughed in
to friend,
The
would the
Rivera’s
an
proxy
seems to Once
the Adolf
a been
fates
Hitlers Panel
of the
police) an
a
opportune
alive,
prove heritage ideology
fellow
to
was
imagery
The
ranks
before
and
a
premonition artist’s
alliance agents
by admired
disguise
leading
industrial
voice
ultimately
Meuzenberg,
assassin again
with to So,
granted
right
and
to and
as
Two. like building
portraying part
experience
the
Pfleuger
he amplifying
end.
correct
the
and have around
Revolutionary,
Rivera’s
Hitler
desperation the of
visited
might concerns
sought
his
world.
schoolboys..
dictated
of
wing his
of
between moment
in
“funny and
of
He
struggles
Gestapo asylum
in
It terror Hitler
protest
cemented
the
nation
artist’s a
turn
of
surround and
commission was has him
Mexico
would
with
that, German live
challenger,
the Rivera.26
level sanctuary
of Revolutionary
While the
a
his
by little
of his
also
to
are
German is
for
with
imperative
Russia
Stalin’s to
artist’s
after
whom to
at
sense for as if Communist
warning
the
such actually
activity
.1
Rivera’s
be
friends
cut
of
made
Rivera
the
City Trotsky.
placed
man.”24
Rivera’s
the the
it the
merchant actually
well
every
liberty
war
elected
Franco
concern
does off
He
a
violence
and
desire
he
and for
in
persecuted
member Alvaras.29 early
time
a
armed
will.
apparent
as
as
both
informed would
of drawn short
would to
in
Mexico.
Stalin sign
to
break
the
not
Germany
and keen
refugees. leadership
But Rivera’s
belief
felt
danger, get
chancellor,
won
repression
Mexico
for
Stalin and engage Party
vessel.27
must
my
Pan Likewise
speak
of
while
Communists
equality
occurring
out of
as
from be depressed..
in later
resistance
in observation
devoted
the comrades
the
in
revolutionary
American
that
Rivera the
triumvirate the
in
In
among
have
of is support
a
Events
and own
the directly
the
became after
Spanish
Some
the might
danger Berlin most
Panel
of
shown
Communist town.
authorities
Stalinist
the
of
Meuzenberg that Rivera
Mural.
United
signed
been
the
film
in
involvement
loyalty.
watched
Soviet
Rivera
the to
United .1
heads
fellow
untainted
of began the
the
Unity
to Four have
here
he noticed
great
that was But fascism
friends.
holding
Civil
“The with
victims
very
had his
agents,
the
people
the
world
States leader
was
Rivera’s
society
about
it had
seemed
Rivera
Hitler Party. led
Mural artists
Soviet States
theme
friend
to
Hitler
early
Non-
does
Great War,
great
and
not
the
The
and
left
the
be
by
at
of
in
in
in in
to
of
a
7 at
in
in
8
is or
in
“in
of
the
his
the
the
rest
not
Lev had her
and
only
Gate
But, time fact,
trials John
Joint most
mural
alone
Stalin
alive, Kahlo in
which in
doT’32
out
“Stalin
closely
Stalin’s
out, the
not
country
Kahlo’s
with
I
the
killed
being
friends,”
at liberty pinnacle
the am
this
American refuge
conflict
notorious places
could
as fire
The of
despair options.”30
their I feel
were was
Rivera
of
since was
a in
of one
These
was a immediately
Frida
can more
the
Mural.
in
suffered
Golden He
to
Frida
such
were ended.36 points
she of
trials
saying.
own
they
until
Stalin
that
with sought and in
at
theme,
as current the was
This
philosopher Besides as Tsars.
what
had
had
out uniquely
Lee
need Rivera
with
eliminated,
fugitive His
relationship
imagery
seemed in
but
Trials. heritage
sanctuary the
purge defensible
the
had
as
a
acceptance held
the which
for charges.
motivated
who
position events
guest, exhilaration
of
of
as
against
Rivera and the
the Diego
participate
of
broader such
Rivera
Trotsky
kicked for
being
affair
refuge
was
reasons.
the Purge
any The
for
American Revolution
danger,
him
and life
Stalin’s
Trotsky’s
and
the
engaged.35
Party’s
Trotsky
depicted alone
period
commission
this
Stalin’s with
Perhaps,
images been
to find perhaps Diego the
revered
to trial
minefield.
the Natalya,
quotes
than love
many
between humanist placing
1937
a to
of with and disposal
plan have
North
his
the
This
imagine
was and
stood
his
The
affair
in for
Russian wife,
By
using to
household.
acknowledging
lived by imminent
against closed
killing-machine...So
wife, --
of
like
motivated.
with
systematically
her it. Europe.
his heightened
only
the who
him, by
life.
disposal
Communist
thousands.
Natalya Alvaras. had
context
Marnham affair
prominently
in of
actively
state.
Cristina,
was pressure
were seems
of
faced difference
Natalya’s
counter-trial
that
can his
Mexico
of
of
amorphous
of
with were
affair
man
Rivera
an loving dramatic, have
the chaired
a
himself to
and
statement at
the
to a
called
the
the
WWII
powerful also
then still
that
a
one
wife
of
for
days out
sister,
a
Patrick
had
and and
politically,
was was acceptance
is
Rivera happy
Trotsky,
she legendary
along He preview
was
way
KahlolRivera
might
his Frida’s
support
life
as
a clear positions the enter
as
children
as
under
face
and
make
against
Trotsky
and
of
He
his
execution
current
of This this
to
seemingly been the
loyal
defending
resources and
tragic
Trotsky
to
proceeded his
against
own Kahlo’s which
saw
well
the
for
of
from
the in
leftist
somewhat
emotion in
Rivera’s
makes his
woman.
relationship
he as
and
got his For
viejo,”
made in
history have
Diego
in with
crimes States
even
were
a
Trial.
loneliness
together crumble
condemned,”
aspects
of
he to to
1929.31 he
mural’s
‘el
successively, this
Rivera and
safe Coyoacán
to
panel
take and
Trotsky’s
am
chapter
in
well.
power and
thrilling, resources,
affair
of
liaisons I
in
the
husband,
inform time dictatorships successfully
at had
although
infidelity
beautiful
with as United
drawn
when
was
formalized
when
heinous resulted of
an appear Trotsky
Hitler no a
known to
entering
Moscow
personally,
final
her could Hitler more began
and
and even
important surrounding
the
to treatment
is of terror
he
of know Russia
same the
not
effect
state had
Four, and
were been one
the
affair
battle,
with
the
placed
“I
was
located
affairs
associates
were
The
all
two
him with
in the
almost
who
in
the
close
the released
once he
does Unity
The
had totalitarian
Rivera
at was
While
had
multitude
Soviet
legal
the Panel
Norway 1930s
in
Azul Kahlo
accused
and
GPU. alongside
of
and
oblivious
but and
encourage of
been time. that
of ratifying,
but nearly the
been desperate
previously
and Inquiry
the
there
from
and
a
Frida the
to Moscow
opposed
house
of
Comrades, recent
assassination that Casa
his
relationship
one yet
Exposition
being
was circumstances of
Kahlo. in
part
in
in
have him,
Bronstein,
much by
film,
friends
positions
American Mexico.
and
him
to aware
out
his that country
participants by
The
writes.3
the
“It
and
not who
specific of
so
Rivera
for in France
was
sought
may
This The
were discourse
be
few home,
Trotsky
participation
confidence
Pan
in Frida
had
a been another. from
time
exiled
form
those
enthroned
betrayal
beautiful
art film Rivera work hand.
America public Thus defensible contradictory
International
would preceded associated wife,
had
Davidovich of after commenced imprisoned, Turkey,
is with
secured Commission Things
family Trotsky grateful. Dewey33. Deutscher
a first womanizer
have survived belly evidenced together Frida’s of revenge. sister’s Cristina his publicly however preferred which Kablo friend, there. Trotskys, have when and seems news information artist Deutscher continue after only Cárdenas’ Trotsky’s blunderings admiration words the successful Anything under politics.41 Rivera Trotsky.4° that agents an Trotsky both the the
evidenced occurred Eloesser. interrogation distraught after
attack.
guest.
split
knowledge
tragedy
respect
there
a
also, he
called
never
Frida
agency
his
Diego
strict
and to
week
in Lázaro
Initially,
Rivera’s
once
and
Certainly,
that
became known between
it
to
have
Diego
during life
arrangement 1939
that
was
murals
right-wing
at
assassination
The Marnham and Trotsky
came
by
Following writes
It
and
Trotsky, express friend.
hinted of
had for
orders
was could
after
Marnham
this
the least
and
is that
by
reporter
the was Cárdenas,
been very
Trotsky’s
the
for of
artist
break unfortunate Trotsky’s
his respect.”38
and
as
on
the
to Mexican
aware
protection
spirited is Rivera
Frida
Trotsky
their
Rivera’s
separation
were
that
in
the
stress cast
done
an that
at it
was Rivera,
deep be
empathy
somehow It
motivated mutual
Frida
creation
but
explains
part,
also
would
his
rival with article is
Trotsky’s
known,
allowed own “described strength
their no Trotsky mentions
lived.
of
a
of
attacked just to
assassination
and
who
it animosity of
place
anger
out had remained threat
appears
Police
old
derived
Trotsky shadow
him the
is
Trotsky
who
for reverence all
unintentional
that
of
make
ties
Trotsky.
as entitled,
for of
and
Trotsky,
hard
had
that
evidence
friend moved
of
more Rivera He
of
affair
would
Rivera one the
likely in
the
towards
fancied of such
assassination to
“expressed
Trotsky’s
to
he
that this Mexico divorce and
been
Trotsky Trotsky was
to
history
from to him
by
either since this
does Mural, the Moscow
presidency, good
of
had by
and
Trotsky have
an believe,
out
had “Ignorance
for that seems
an
on
because defaced.37 This besmirch
even
to
to
elected
Mexico’s personal,
that seem arrangement.
Kahlo/Rivera
himself
River&s
unsubstantial
her Trotsky
not
Rivera
fellow
agent
friends.
multiple
complicity
of
Rivera
be on
that
contributed
avoid by
as
this
was just
seen
plight
as
act
they
after
undiminished the
come
seem
remain to
allowed
his
a
a
had Rivera.
given
and
preceded
‘a
period
of the
of
Kahlo not
as father
have
cuckold,
this muralist,
Almazar, Casa
was the
a
tarnishing
art
great
as did
own
rather in
is
must
the Stalin’s “most
separation
the disciple
engaged levels.
to
Diego’s for
president
to
only
not
nation’s
a
the
or
relationship both unknown.
in not
considered
not
have
his
San Azul,
break
importance
of revolutionary
of
to
emotion After fall
and
relationship
man
his
on
have a
Once
than a
public
a it.
one celebrated
time her
the
think which
affairs,
David
which
two-year Weapon men’s
guest
Francisco
Perhaps
from of defended
his
been
death.
Rivera
separation
admiration
in
his
Rivera,
The
in honor,
all,
for
ill
made of
to Russian been
any
Trotsky,
was
he
personal
with
twice
their as statements health.42 Mexico
shy
macho
of
All
would favor
Alfaro motivated followed, continued
Rivera
it
whom..
couple
but
as
other
learned
of
masculine
strong
so Rivera’s, unacceptable
the
never
of
they
away and
period,
is
in
of figures” Rivera’s
a
and
their
to
the friendship
did
about
traumatic
Revolution. Revolution.”39
breech
can under
from
exiled
an
evidenced this
factors,
besmirch
be
for persona,
Siqueiros,
integrity.” in
the
had
did
.1
was
an
artist
Dr. not
from spoke
interview
due
involvement
of
only
were
treated continue 1934,
he
by public
was
the GPU
the artist.
from
but not
frida,
used
pride the
Eloesser, had remarried
wife. want
Russian
Kahlo’s
of
made,
to
political
public
against
since be
fate
and
only not
of and
speak
‘genius
of
behavior the
to Calles
but
shared
his
agents
his
been
support by had
by
1937
imagined.
the should
Frida’s
Marnham
his
the These gain
with
a Trotsky
that of The
having
double
Rivera’s
possible
so
But the
the masculinity.
their
influence
concern
confrontation vulnerable
their
ill
nation
of
organized
a the
wife
disagreement. with
Stalinist
events
in
withdrawn
regime
too
until political
Trotsky whose
in
physician each
a
effect break
him affair
health
the
on
come
feelings
liaisons
San
of
United
man old
Mexico
reunion
standard
the
did
Trotsky
had
wrote
the
each of
writes
attempt
support Just because
because
felt
1939,
to
friend
involving
Francisco
occurred
between in
that
with
they
political
Mexico. between
Trotsky
greatest
attacks.
and asylum
become
and part
to Stalin’s
beliefs
deeply
States
as
1924,
to
other,
friend
must
these
This
from were
such
over
that
this
was
that
had the his
the
the
by
Dr. be
her
of on
of
of
It of
9 is
as
be
of
in
of he
its
the
the
But
and 10 the
his the and her
The
that
This
more
South
at as Death
this not called
of
Kablo of in
a Rivera
well
symbol
change,
note
different feelings is
hope
avoiding
while
time
German-
depicting
be
death
as
1939. something more,
on
conflicted
and
and
is the flI
Life, that not
has
with
compromise
by could extramarital of
scars
in
center
her
thus
never abandonment
make America,
a women.
but
of
was
Frida
on
human
ancient
gods of
Goddard.
movement but
embodiment
evidence
up of
been
of
the
of
expressed
mean
North nature
anything
in
What’s
There
between
too,
an
the
Coatlicue,
does
This
life,
but,
accurately
would in failures,
South
split
Trotsky.
as mural’s in
have
Yet
apparent
outright
toward basis
he standards mysteries
reverence
intimate,
either,
of all
Goddess
benefit
truth, mature,
Paulette
can numbers
expect had
kill
the and
bridge
the
of Trotsky or
the
evident
felt
in
between it by
must
female. also
depiction
Rivera
goddess
to to
great
in
Mexico.
the
Indigenismo
female
remedy.
necessarily
on
turned
double more
(if are
Aztec is as like
a
mankind, regards
in
painting
sexually
is
the embodied
not
North the couple the
there
unity
not
as
used
Chaplin,
of
is
the
success
Aztec contradictory attitude of sacred
goddess be
Just reason,
this
of to
the
of
of
mural’s
with, the
motherhood.
point) is
of obviously
back
in
In
metaphoric the
Frida does
around- the
respect the
become
betrayal
face
spirit relationship
of
the
He
from
considering
future by
that His
Charlie prominently remarry of longer
Skirt,” weapon
since
lack
the
union
theme
Naturally
has the
movement faith
in
and
accomplished
time homage
to
Diego
the
of
man.
no
Coatlicue,
as
no
It involved in
unlike
the the Trotsky
to
ever an
very
importance
up virtue
Kahlo’s
Frida
is pride,
for
arts. was
creative bright
This
image Mural.
love
mural.
is of
wife
not
was
Serpent
excluded
featured by been the
all
admonished
and
second
and
would
and
the
hurt
Muralist
monogamous.”43
the
he
represented
is
meant
and to the
contained
not
humility
has
clear,
important Unity
the
of plastic
in larger
it
as
over Mural
be,
marriage reunion
is
they of conduit
the champion, depicting future
hand,
temper. absence
an power
personifies the Diego Rivera’s
love
completely.
the
the Rivera
the
of
Eloesser
but
Trotsky there
will
of
women
fact,
bound actress
the
of their
the
Rivera.
unsuccessfully
in
Unity turmoil
that
She
and “Lady and Kahlo
For
to
evident
such
Still
diving
In
Dr. mother,
so Kahlo’s
the
with Stalin’s
the symbol
but
American
on,
ever petulance
man as
presiding
lives,
of
a which
relationship
in
due was
also
faith
for productive
and
fully
pursuit
finagle
nor
Pan
great
in supernatural
is
as
part,
patronage
mural.
time,
women
exist. Commission:
either,
their
she
indestructible
to
romantic represents
intimately my
mural.
American suggested and their
her
national
mural,
the
the
to
to the
compete
reminds
the
the
life,
arguable
an
influence
insincere
in been,
icepick
so
in
of
showed inanimate.46
the
what also is
this at the
to Pan
of share it Rivera’s
with Beloff,
had an participated.
my
is
official
1939
Dewey
It
Rivera’s also
as preserved Aztecs
and
of
of
of
of
contributions
experienced
unified
forced
important
and
of
and
never
on
often
the
to,
form
the a
the image
bloody destroyed
attempting the
that
Francisco, given
with
likewise is
be
well
the meant
jealousy. arts.
have
a
to
he
has
Rivera’s
difference
coupled Rivera
It
center as
of for for much
depictions forefront .1 honesty
For
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pain
admire
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ardent.47
at wife, not In
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Finally,
importance
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scale, current
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ancestry animate disregard
image.
is
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imagery
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still
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Crlenkovich,
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positioned Mexican
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Trotsky
continued heart
machine creativity. unifying was
summary
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4Pan representation made San Historical 3Williamson,
7Williamson, 5Vasconcelos, deter
2Rivera, country
6lbid, Orozco, 9Orozco, University 8lbid. ‘Key
1940, 10,000 ‘°Knight, ‘4Richardson, ‘3Deutscher, (1987), “Lee, ‘2Mamham,
‘6Herrera, ‘5lbid., ‘7Marques, ‘9Marnham, ‘8Richardson,
splintering
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success an is Graham,
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Siqueiros
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representation
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creation.
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informed editor, University
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representative underlay
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of Penguin Harper mural
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fascism
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commitment events Francisco,
in in Press, it
is Inc., Vintage
works
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the
Rivera
muralist
in and the
that
was
the
an relation (New &
American
and
of (New Books,
its
were in
store in
greater 1993), Row as artist, Americas’, in
crated San
encapsulation 1962),
the
Latin United
than
destroyed The
the
and
indelible
finally
Trotsky’s Moscow,
to
like Books, York:
well
failed. Public York: Publishers,
mitigating Francisco
awkwardness
for
1992), movement Idea
view
128. fact
Diego to
conflicts
82 America: from
this after
public,
to Unity
the
Alfred States
as 1963),
installed the Information The Navel of
that 1927-28,’ 392-3.
In
the
and
mark
would
words, Race
by
depicting.
any
finished
it
Rivera.
Mexican s Citadel fact, 1983),
Mural. A. 431.
the Public
of 23, was
as to
ideal its
personal decry,
in Conflict pioneered
artistic in Knopf,
outside
a
enter
was 1989,
at
patron, Rivera’s
that be
mural Latin
the there Mexican
specific Office. 258.
viewed Press,
City Murals,
artistic
of
It
hard
or
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(?)
world
resulted 44-62.
WWII 1998), and America,
is,
and
As the
is
factors
their
“was
ignore,
College 1960)
would by
muralists’
muralists’
as
as Studies,
accepting to
period Creation(A
by (Berkeley:
a political
product. muralist 300.
Rivera,
well
well,
and
gauge.
on
native
visual
never
some Dover
from 1870-
that
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the 3:1
of 11
in in
of
a in
12
off
1983),
pistols
1997),32.
shot
Publishers,
and
Taschen,
Row
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beliefs
(Cologne:
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political
Art,
other’s
Francisco:
Modern
in
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Spirit
Secrets,
denounced
and
they
Revolutionaiy
Myths
A
where
of
1936
in
276.
(1886-1957):
Encyclopedia
debate
r
Marnham,
1-2.
Rivera
public
37
a
Woman
points.
Diego
held The
their
G.
Deutscher,
Andrea.
50.
1.
Siqueiros Marnham.
359.
445.
380.
291.
276-7. 278;
293. 285.
209.
301.
Barbara
1-2.
$5.
151.
punctuate
and
13 142.
61. 86. 60.
205. 292. to
298. 207 302
air
21Ibid, 20Richardson, Ibid, 23Lee, 22Ibid, 24Rivera, 26Ibid, 27Ibid, 28Deutscher, 29Marnham, 30Lee, 3tDeutscher, 32Marnham, 33Marnham, 34Deutscher, 35Herrera, 36Marnham, 172. 37Kettenmann, 38Marnham, 39Deutscher, the
40Ibid, 41Rivera 431b1d, 42Herrera,
Ibid, 46Walker, 45Rivera, 47Deutscher,