/pdf/the-jose-villagran-garcia-s-theoretical-notions-and-their-48a5lhono0.pdf

The Jose Villagran Garcia's Theoretical Notions and their Application to the Architectural Project During the Modern Era in Mexico (1925 - 1954)

Diego Rivera's 1929 frescoes in the boardroom and the laboratory at the Mexican Ministry of Health building are among the least studied and most enigmatic of his works. Painted at a critical time in Rivera's career, for an institution entrusted with improving medical research and health care, the frescoes differed dramatically from the artist's more famous cycles of 1920s that dealt overtly with the themes of politics and national history. Working in one of Mexico City's most celebrated modern buildings, Rivera responded to existing architectural and decorative programs and to the recent destruction of a pair of frescoes there. He also responded to the Ministry's attempts to reform Mexican society by regulating behavior and promoting racial mestizaje. In this commission Rivera first explored the imagery of modern science and began to consider the implications of the growing reach of modern medicine into private life. His Ministry of Health frescoes laid the foundation for important aspects of his later cy...

Science and Sex in Diego Rivera's Health Ministry Murals

Background: Our long-standing scientific work and love to the fine art and nature for many years succeeded in making a unifying description of the three domains, at a time when a high specialisation in science, and even in art, has neglected the necessary entirety. Materials and methods: Some neurons of a rat cerebral cortex were labelled with true blue and photographed under a fluorescent microscope. A monkey brain was sectioned in the axial plane. Several slices of the human motor cortex were stained with cresyl violet. A cerebral hemisphere image was modified, and another image was created in Adobe Photoshop. Results: Some 10 billion years after the Big Bang life appeared on the Earth, reaching its peak with development of the brain. The humans started exploration of the local nature to survive, and the universe for psychological support. The antique philosophers Leucippes, Democritus and Heraclitus were the first to create a unifying atomic theory and to suggest the eternal movement of the matter. Newton and Kepler explained the movement of the celestial objects, whereas Einstein, Planck, Bohr, Hubbel, Howking and many others connected the quantum physics and elementary forces with the essence of the universe. Leonardo da Vinci, and later many others as well, united science and art. Philosophers and mathematicians created the phenomena which do not exist in nature. Conclusions: Nature designed the human brain, more complex than the universe itself, which in turn created millions of the artworks and scientific discoveries. The might of the mind in some domains overcomes the power of nature.

/pdf/nature-life-and-mind-an-essay-on-the-essence-4v48zppf83.pdf

Nature, life and mind. An essay on the essence.

O N WEDNESDAY, MAY 10, 1933, Diego Rivera made front-page news in the NewYorkTimes:“ROCKEFELLERS BAN LENIN IN RCA MURAL AND DISMISS RIVERA.” The night before, Rivera (1886-1957) was ordered to stop painting his commissioned mural, Man at the Crossroads (epigraph), in the main entrance lobby of the Radio Corporation of America (RCA) building in Rockefeller Center. He was paid the $14 000 remainder of his $21 000 fee and dismissed. Within an hour, the mural was covered over by new canvas panels. Earlier that week, Rivera sought permission for a professional photograph to be taken of his work in progress. Permission was denied. Sensing trouble, Rivera’s wife, Frida Kahlo (1907-1954), alerted Rivera’s assistant, Lucienne Bloch (1909-1999). A diversion was created to allow time for Bloch, the daughter of noted conductor Ernest Bloch and a talented photographer, to quickly take photos of the large mural and closeups of the area showing Lenin (epigraph) using her handheld Leica (cover, thumbnail). Lucienne Bloch’s photographs are the only record of the Rivera RCA building mural. Her close-up photograph appeared in the New York papers showing Lenin, the leader of the proletariat, symbolically clasping the hands of a triad representing the soldier, the worker, and the farmer (depicted as African American). These were the allies of international socialism. Rivera wrote:

Diego Rivera's Man at the Crossroads.

Six Episodes of Convergence Between Indian, Japanese, and Mexican Art from the Late Nineteenth Century to the Present

A veritable folk hero in Latin America and Mexico's most important artist - along with his wife, painter Frida Kahlo - Diego Rivera (1886-1957) led a passionate life devoted to art and communism. After spending the 1910s in Europe, where he surrounded himself with other artists and embraced the Cubist movement, he returned to Mexico and began to paint the large-scale murals for which he is most famous. In his murals, he addressed social and political issues relating to the working class, earning him prophetic status among the peasants of Mexico. He was invited to create works abroad, most notably in the United States, where he stirred up controversy by depicting Lenin in his mural for the Rockefeller Center in New York City (the mural was destroyed before it was finished). Rivera's most remarkable work is his 1932 Detroit Industry, a group of 27 frescos at the Detroit Institute of Art in Michigan. This lavish volume - the first book to feature Rivera's complete mural oeuvre, including newly discovered works - features numerous large-scale details of the murals, allowing their various components and subtleties to be closely examined. In addition to the murals is a vast selection of paintings, vintage photos, documents, and drawings from public and private collections around the world many of which the whereabouts were previously unknown to scholars and whose inclusion here is thanks to the most intense research performed on Rivera's work since his death. The texts include an illustrated biography and essays by prominent art historians offering interpretations of each mural. One could not ask for a more comprehensive study of Rivera's oeuvre; finally, a half-century after Rivera's death, his work is the subject of the sweeping retrospective it deserves.

Juan Rafael Coronel Rivera

Papers

Diego Rivera. The Complete Murals