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UC Riverside UC Riverside Electronic Theses and Dissertations UC Riverside UC Riverside Electronic Theses and Dissertations Title Re-Conceptualizing Social Medicine in Diego Rivera's History of Medicine in Mexico: The People's Demand for Better Health Mural, Mexico City, 1953. Permalink https://escholarship.org/uc/item/7038q9mk Author Gomez, Gabriela Rodriguez Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Re-Conceptualizing Social Medicine in Diego Rivera's History of Medicine in Mexico: The People's Demand for Better Health Mural, Mexico City, 1953. A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Gabriela Rodriguez-Gomez June 2012 Thesis Committee: Dr. Jason Weems, Chairperson Dr. Liz Kotz Dr. Karl Taube Copyright by Gabriela Rodriguez-Gomez 2012 The Thesis of Gabriela Rodriguez-Gomez is approved: ___________________________________ ___________________________________ ___________________________________ Committee Chairperson University of California Riverside Acknowledgements I dedicate my thesis research to all who influenced both its early and later developments. Travel opportunities for further research were made possible by The Graduate Division at UC Riverside, The University of California Humanities Research Institute, and the Rupert Costo Fellowship for Native American Scholarship. I express my humble gratitude to my thesis committee, Art History Professors Jason Weems (Chair), Liz Kotz, and Professor of Anthropology Karl Taube. The knowledge, insight, and guidance you all have given me throughout my research has been memorable. A special thanks (un agradecimiento inmenso) to; Tony Gomez III, Mama, Papa, Ramz, The UCR Department of Art History, Professor of Native North American History Cliff Trafzer, El Instituto Seguro Social de Mexico (IMSS) - Sala de Prensa Directora Patricia Serrano Cabadas, Coordinadora Gloria Bermudez Espinosa, Coordinador de Educación Dr. Pedro Garcia Zuniga, and Dra. Maria Griselda Galindo Rodriguez; Siglo XXI: IMSS Centro de Información- Lic. Patricia Olguín Alvarado, Lic. Patricia Guadalupe Alfaro Guerra and Lic. Rosalba Tena Villeda; Centro de Documentación Museo de Arte Moderno- Directora Marta Nualart and Sra. Graciela Monroy; Museo Mural Diego Rivera- Investigadora Ericka Contreras; Museo Nacional de Arte- Directora Maria Estela Duarte; Biblioteca Museo Nacional de Antropología- Dra. Carmen Aguilera. Lastly, to an individual I only met once, Sr. Arturo Aguilar Gonzalez- thank you for the inspirational enthusiasm toward Diego Rivera's artistic history and its relation to Mexican culture. iv ABSTRACT OF THE THESIS Re-Conceptualizing Social Medicine in Diego Rivera's History of Medicine in Mexico: The People's Demand for Better Health Mural, Mexico City, 1953. by Gabriela Rodriguez-Gomez Master of Arts, Graduate Program in Art History University of California, Riverside, June 2012 Dr. Jason Weems, Chairperson Diego Rivera's History of Medicine in Mexico: The People's Demand for Better Health mural has been interpreted as a representation of the Social Security Institution in Mexico, ancient and modern medicine, or mythological indigenous iconography relative to fecundity. Interestingly, the mural's descriptive title overshadows Rivera's gritty commentary embedded within the depiction of ancient and modern societies of Mexico, specifically Mexico City. The overall narrative chronologically demonstrates a generational shift from the indigenous Nahuatl or Nahua medicine and myth, mainly reproductions of early colonial imagery, to the modern nineteen fifties urban landscape and hospital setting. Highly regarded as a creative interpreter of Mexican tradition and culture, Diego Rivera was not necessarily focused on representing accurate depictions of the ancient societies of Central Mexico. Scholars must reconsider how to approach v Rivera's art representing indigenous communities, in this case Nahua mythology and the social need for social security, and analyze their relationship relative to the push for modernity throughout the industrial era. Rivera's artistic vision, coupled with his polemic character, produced a final mural that strongly conveys a multilayered dialogue between the artist, the viewer, and the past. The mural History of Medicine in Mexico: The People's Demand for Better Health actively engages with the viewer through the ongoing regeneration of thoughts, movements, and actions that channel the fluctuations of modernity itself by questioning the institutionalized system and the organic indigenous perspective. Interaction with the mural is necessary to open one's comprehension of not only Rivera's own personal struggle and realizations, but a nations' choice to move forward towards modernization. Ultimately, Rivera's visual articulation of ancient and modern medicine allows the viewer to interact with, exchange ideas and potentially manifest the dynamic yet fragmented essence of an ambiguous modernity. vi Table of Contents Acknowledgments ........................................................................................................................ iv Abstract ...........................................................................................................................................v List of Illustrations ..................................................................................................................... viii Introduction ....................................................................................................................................1 Chapter I: The Multifaceted Mural ...........................................................................................27 The Depiction of Ancient Naturopathic and Modern Allopathic Medicine ...................................27 Diego Rivera, Inventor of Traditions .............................................................................................40 The Birthing of Medical Knowledge ..............................................................................................44 Chapter II: The Clinical Institution ...........................................................................................54 Public Reception ............................................................................................................................54 Exchanging Blood Sacrifice for Modernity, Industrialization, and the Clinical Gaze ..................59 The Family Unit and The Collective ..............................................................................................71 Conclusion ....................................................................................................................................83 Bibliography .................................................................................................................................88 Illustrations ...................................................................................................................................97 Appendix I ..................................................................................................................................139 vii List of Illustrations Figure 1. Gabriela Rodriguez-Gomez. Modified diagram of the mural History of Medicine in Mexico: The People's Demand for Better Health. Black ink on paper. 1953. Centro Médico Nacional de La Raza, Mexico City, Mexico. Original diagram template from Instituto Nacional de Bellas Artes (INBA). Diego Rivera: Catalogo General de Obra Mural y Fotografia Personal. Editor Rafael Cruz Arvea. pp. 247-49. Mexico D.F.: SEP, Instituto Nacional Bellas Artes, 1988. See page 1. Figure 2. Enrique Yáñez de la Fuente and Instituto Mexicano de Seguro Social. Centro Médico Nacional de La Raza: layout of main lobby (first floor). 1953. Centro Médico Nacional de La Raza, Mexico City, Mexico. See page 2. Figure 3. Top photograph: Anonymous. Diego Rivera and mosaic artist Graciela Ramirez. Silver gelatin print. 1953. Bottom photograph: Anonymous. Diego Rivera and only four of his artist assistants- not in identifiable order- Osvaldo Barra, Marco Antonio Borregui, Melquíades Ejido, Manuel Martínez, Teresa Ordiales, Nicolette Huguette, Ramon Sanchez, Enrique Valderrama. Silver gelatin print. 1953. Instituto de Bellas Artes (INBA) Collection, Mexico City, Mexico. See page 3. Figure 4. Diego Rivera. History of Medicine in Mexico: The People's Demand for Better Health. Fresco, mosaic and multimedia. 1953. Centro Médico Nacional de La Raza, Mexico City, Mexico. Photographed by author. See page 3. Figure 5. Diego Rivera. History of Medicine in Mexico: The People's Demand for Better Health, detail of left and right side walls. Fresco, mosaic, and multimedia. 1953. Centro Médico Nacional de La Raza, Mexico City, Mexico. See pages 3, 34-35. Figure 6. Diego Rivera. Creation. Fresco, encaustic and gold leaf. 1922-23. Amphitheater Bolívar. National Preparatory School of Mexico City. See page 8. Figure 7. Diego Rivera. Zapatista Landscape. Oil on canvas. 1915. The National Museum of Mexico, Mexico City. See page 10. Figure 8. Diego Rivera. Mathematician. Oil on canvas. 1918. The Dolores Olmedo Collection, Museo Dolores Olmedo, Mexico City. See page 10. Figure 9. Diego Rivera. Study of an Etruscan Vase. Pencil and paper. 1921. Purchased by the Philidelphia Museum of Art, Lola Downin Peck Fund from the estate of Carl Zigrosser. See page 11. Figure 10. Diego Rivera. History of Medicine in Mexico: The People's
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