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DE-MYTHOLOGIZING RNERA: ANA POZZI-HARRIS Kingston, Ontario

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DE-MYTHOLOGIZING RNERA: ANA POZZI-HARRIS Kingston, Ontario DE-MYTHOLOGIZING RNERA: Political Cultures and the European Years, 1907-1921 ANA POZZI-HARRIS A thesis submitted to the Depanment of Art in conformity with the requirements for the degree of Master of Arts Queen's University Kingston, Ontario, Canada My, 1998 copyright Q Ana Pozzi-Harris, 1998 National Library Bibiinthèque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services seMces bibliographiques 395 Wellington Street 395, rue Wellington -ON K1AW ûttawaON K1AW Canada CaMda The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distniuer ou copies of this thesis in microform, vendre des copies de cette thése sous paper or electronic formats. la forme de ~nicrofiche/fiim.de reproduction sur papier ou sur format électronique. The author retains omership of the L'auteur conserve la proprieté du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT This thesis deals with the period the Mexican anist Diego Rivera spent in Europe (1907- 1909; 19 1 1-192 l), and with the works produced at that tirne. Rivera's European production, 1 propose, can be contextualized within two potitical cultures: French nationalism during World War 1 and the post-war era, and the Mexican Revolution. 1 propose that Rivera's European production accepts a plurality of meanings when contextualized in these distinct political cultures. This dual approach challenges previous readings which have mythologized Rivera's European period as unavoidably linked to the iconography, style, polifical ideology, and national identity that he manifested after his definitive return to Mexico in 192 1. In chapter 2, 1 contextualize Rivera's transition from Cubism to la rradirion within the politicized interpretation provided by Kenneth Silver in Esprit de Coms. Between 19 13 and early 19 17, Rivera was a Cubist artist. Around March 19 17, however, he renounced Cubism for a classicized manner of painting, which included Ingres-like portraits, academic drawings, Cézannesque landscapes, and "construction drawings." Relying on Kenneth Silver's politicized interpretation of the avant-garde shifts between Cubism and la fradition during World War 1 and the early post-war era, I situate Rivera's confrontational positioning in the midst of the right-wing oriented discourse of French nationdism. This contextualization opens the question as to Rivera's political allegiances in the contexr of nationalist France. In chapter 3, 1 analyze Rivera national, cultural, and political allegiances in relation to the Mexican revolution (1910-1921), and 1 conclude that Rivera's notion of national identity evolved between 19 1 1 and 192 1. This evolution, 1 argue, cm be traced through a joint reading of Rivera's representations 'of Mexicans and of Mexico.' Representations of Mexicans encompass Rivera's portraits of Mexican emigrés, white representations of Mexico comprise depictions of Mexican artesania and of the Mexican plateau. Before 1914 Rivera identified with the liberal, urban, educated class of Mexicans. He manifested this allegiance in two portraits he painted of a representative of this class, culture, and political ideology. Between 19 14 and 19 19 approximately, Rivera identified with an imagined community of uneducated and violent peasants. Around 19 19, however, Rivera's national and cultural identity shifted once again, as he was invited to retum to Mexico to collaborate in the "civilizing" of the uneducated Mexicans whom he had previously identified with. Rivera's renewed interest in the 'old masters,' 1 argue, favorably impressed Mexico's post-revoiutionary intellectual elite, who thought his embrace of the classical tradition conducive to their "civilizing mission." In fact, Rivera's classiciring style, Western and Europe-centered as it was, paved the way for his official return to Mexico. This thesis has been a challenging project, whose research and writing 1 have enjoyed enormously. 1 must thank a number of people, both for setting the challenge and also for smoothing the road when difficulties were pressing. My advisor Dr Mark Antliff, who proposed Rivera as a topic, provided exacting criticisrn which helped me shape the topic and think clearly. His constructive comments about my successes and pitfalls were deeply appreciated throughout this project. Furtherrnore, the top quality of his scholarship and teaching have continuously inspired rny own thought. Dr Lynda Jessup also helped me expand the horizon of the topic with her questions and observations. Dr Patricia Leighten, Dr Voj tëch Jirat-Watsiutynski. Dr Cathleen Hoeniger, and Dr Pierre du Prey have motivated me for the pst two years as well. 1 owe thanks to my classrnates, especially Jane van Deuren and Helen Dudley, for their refreshing camaraderie, and to the Art and Slide Libraries' staffs for their enduring patience and sympathy towards me. My amazing parents fueled me with insightful and useful questions about Rivera and his quests one afternoon in Buenos Aires last year, and have remained very close to my heart during this leaming process. My sisters Marcela and Guda have also contributed with their good humor about "Dieguito" and their own studious example. Finally, Cristian has been a very special kind of best friend, and my mentor to pursue çraduate studies. To him, and to our future ventures, 1 dedicate this work. TABLE OF CONTENTS LIST OF ILLUSTRATIONS .................................. vii INTRODUCTION ......................................... 1 Chapter 1 THE MYTH OF RIVERA'S EUROPEAN MUICANIDAD: A critique .................. ................ 7 1.1 Introduction .................................. 7 1.2 Florence Arquin. Diego Rivera: The Shaping of an Arfisf (1971) 9 1.3 Olivier Debroise. Diego de Montparnasse (1979) ........ 11 1.4 Ramon Favela. Diego Rivera: The Czlbist Years (1981) ... 14 1.5 David Craven. Diego Rivera: As Epic Modernisr (1997) ... 18 1.6 Conclusion ................................... 25 .3 PAINTING POUR LA PATRIE: The war years of Diego Rivera. 19 14- 192 1 ............... 27 2.1 Introduction .................................. 27 2.2 Between neutra1it-y and patriotism: Rivera's choices ...... 30 2.3 Rivera and the defense of Cubism .................. 37 2.4 Rivera as a wartime Cubist ....................... 43 2.5 Rivera as a wartime ciassicist ..................... 52 2.7 Conclusion ................................... 71 3 IMAGING THE NATION: Rivera's national identity and the Mexican Revolution. 1912-1921 ...................................... 73 3.1 Introduction .................................. 73 3.2 Modernity, democracy. and universal education: the portraits of Adolfo Best Maugard ............... 78 3.3 The quest for national identity: Mexicanjdad. culture. and politics .................. 3.4 The Prodigal Son .............................. 3.5 Conclusion ................................... CONCLUSION ........................................ ILLUSTRATIONS ......................................... BIBLIOGRAPW ......................................... VITA LIST OF ILLUSTRATIONS Figure 1 D. Rivera, Za~atistaLandsca~e, Summer 19 15. Oil on Canvas. Instituto Nacional de Bellas Artes, Museo Nacional de Arte, Mexico City. ................. 123 Figure 2 P. Picasso, Still-Life with Cards, Glasses. and Bottle of -Rum (" Vive la France"), 19 14-1 5. Oil on Canvas. Private Coiiection. .......................... 124 Figure 3 D. Rivera, Sailor at Lunch, 19 14. Oil on Canvas. Instituto Nacional de Bellas Artes, Museo Casa Diego Rivera, Guanajuato. ............................... 125 Figure 4 G. Severini, Cannon in Action, 191 5. 011on Canvas. Private Collection, Milan ...................... 124 Figure 5 A. Willette, "It's no? new!" ("Ce n'est pas nouveau!"), ca. 191 4- 18. Photograph. Bibliotéque National, Paris. Reproduced in Silver, Esprit de Coms, 9 .......... 126 Figure 6 H. Leka, "The Boche Imperia1 Family Kubified" ("La Fan~illeImperiol Boche Kzrbistée"), 19 14- 15. Musée d'Histoire Contemporaine-BDIC, Hôtel National des Invalides, Paris. Reproduced in Silver, Esprit de Corps, 10. ................... ... .......... 126 Figure 7 A. Favory, "Military Aerostation" ("Aérostation Militaire"), ca. 19 14- 16. Ink. Reproduced in L'Elan (1 February 19 16) ........................... L27 Figure 8 D. de Segonzac, "In Repose" ("Air Repos"), Ca. 19 14- 16. Pencil.ReproducedinL'Elan(1January 1916) ...... 127 Figure 9 J. Metzinger, "Nurse" ("LÏnjhtiére"), ca. 19 14- 16. Reproduced in L'Eh (1 February 19 16). Figure 10 A. Derain, Nurse. Ca. 19 14- 16. Pend. Reproduced in L'Eh (1 February 19 16) . , . Figure 11 Lespinasse, "Les Femmes Les Plus Nobles Trawillenr de Lelrrs Mains A Des O~rvragesde Laine", Ca. 1913- 19 16. Woodcut. Reproduded in L'Eh (1 January 19 16) . Figure 12 D. Rivera, Portrait of Maximilian Voloshin, 19 16. Oil on Canvas. Instituto Nacional de Bellas Artes, Museo Nacional de Arte, Mexico City. Figure 13 G. Severini, Still Life with Ouaker Oats, 1917. Oil on Canvas. Grosvenor Gallery, London. Figure 14 J. Gris, Plavine Cards and Svphon, 1916. Oil on Canvas. Rij ksmuseum Kroller-Müller, Otterlo. Figure 15 D. Rivera,
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