Mexican Social Realist Muralist, 1886-1957,Mexican muralist. After study in Mexico City and Spain, he settled in Paris from 1909 to 1919. He briefly espoused Cubism but abandoned it c. 1917 for a visual language of simplified forms and bold areas of colour. He returned to Mexico in 1921, seeking to create a new national art on revolutionary themes in the wake of the Mexican Revolution. He painted many public murals, the most ambitious of which is in the National Palace (1929 ?C 57). From 1930 to 1934 he worked in the U.S. His mural for New York's Rockefeller Center aroused a storm of controversy and was ultimately destroyed because it contained the figure of Vladimir Ilich Lenin; he later reproduced it at the Palace of Fine Arts in Mexico City. With Jose Clemente Orozco and David Alfaro Siqueiros, Rivera created a revival of fresco painting that became Mexico's most significant contribution to 20th-century art. His large-scale didactic murals contain scenes of Mexican history, culture, and industry, with Indians, peasants, conquistadores, and factory workers drawn as simplified figures in crowded, shallow spaces. Rivera was twice married to Frida Kahlo.   Related Paintings of Diego Rivera :. | Portrait | Threshing Floor | Glide | Landscape of Spanish | Rivera and Carlo |
Related Artists:
Thomas Couture
1815-1879 French Thomas Couture Location French painter and teacher. A student of Antoine-Jean Gros in 1830-38 and Paul Delaroche in 1838-9, he demonstrated precocious ability in drawing and was expected to win the Prix de Rome. He tried at least six times between 1834 and 1839, but achieved only second prize in 1837 (entry untraced). Disgusted with the politics of the academic system, Couture withdrew and took an independent path. He later attacked the stultified curriculum of the Ecole des Beaux-Arts and discouraged his own students from entering this institution. He first attained public notoriety at the Paris Salon with Young Venetians after an Orgy (1840; Montrouge, priv. col., see Boime, p. 85), the Prodigal Son (1841; Le Havre, Mus. B.-A.) and the Love of Gold (1844; Toulouse, Mus. Augustins). These early canvases are treated in a moralizing and anecdotal mode; the forms and compositional structures, like the debauched and corrupt protagonists, are sluggish and dull. Yet what made his work seem fresh to the Salon audience was his use of bright colour and surface texture derived from such painters as Alexandre-Gabriel Decamps and Eugene Delacroix, while his literary bent and methodical drawing demonstrated his mastery of academic tradition. The critics Thophile Gautier and Paul Mantz (1821-95) proclaimed him as the leader of a new school that mediated between the old and the new, and looked to him for a revitalization of Salon painting. The air of compromise his works projected made him appear a cultural representative of the juste milieu policies of Louis-Philippe.
August Ahlborn
(October 11, 1796 - August 24, 1857) was a German landscape painter. Ahlborn was born in Hanover, and studied with Karl Wilhelm Wach in Berlin. He went to Italy in 1827, where he converted to Roman Catholicism, and lived in Florence, Ascoli, and Rome. He painted mainly Italian landscapes, but also some Nordic ones, as well as a few portraits and religious works. He died in Rome in 1857.
George Washington Lambert
(13 September 1873 - 29 May 1930) was an Australian artist, known principally for portrait paintings and as a war artist during the First World War. Lambert was born in St Petersburg, Russia, the posthumous son of George Washington Lambert (1833 - 25 July 1873, in London) of Baltimore, Maryland. The younger Lambert's mother was Annie Matilda, nee Firth, an Englishwoman. Mother and son soon moved to Werttemberg, Germany, to be with Lambert's maternal grandfather. Lambert was educated at Kingston College, Yeovil, Somerset. The family, consisting of Lambert, his mother and three sisters, decided to emigrate to Australia. They arrived in Sydney aboard the Bengal on 20 January 1887.