Suenos de Una Tarde Dominical En La Alameda Central

This painting was completed for the four hundredth anniversary of the Conquest and it was exhibited originally in the Mexican pavilion for the World Colombian exhibition in Chicago in 1893. In being showcased to the public, it was meant to have a dark representation of the already dark subject matter of the Conquest. Izaguirre creates a heritage filled with political meaning for Mexico in this historical painting of the Torture of Cuauhtemoc.

Paintings are expression in art form, they reveal the feelings of the painters, and convey the messages. One of the greatest painter that can reflect the lives of the Mexican people is Diego Rivera. Diego Rivera is famous for marrying a fellow Mexican artist Frida Kahlo, but is a notorious womanizer, also famous for his paintings. In one of the paintings, “Frozen Assets,” Diego Rivera visited New York during the Great Depression depicting the people and city in his paintings with colors with the meaning behind it.

Diego Rivera was known for a muralist of the Mexican Social Realism. This movement was the brutality of WWI. It attacked capitalist. Rivera was a communist, he believed in the common ownership in social, political, and economic ideology that strived to maintain social order. One example of this

Mexican artists, more than most other artists in the Americas, exemplify the political and social obligations of artists. According to Soltes (2011), several Mexican artists of the early twentieth century were inspired by the revolutions and political unrest occurring in Mexico, which was reflected in their work. Diego Rivera (1886-1957) considered one of Mexico’s Renaissance artists, influenced by European avant-garde style, painted Zapatista Landscape (1915). This work was done as Rivera’s tribute to the Mexican revolutionary “Emiliano Zapata who had played a key role in the 1910 Mexican Revolution that had overthrown the then President Porfirio Diaz” (Soltes, L43, 4:42). Soltes (2011) describes this work: “very clearly we see a rifle; we see it's a sarape, together with a very stylized backdrop of water, mountains and sky, punctuated by a work that seems largely to emulate the synthetic cubist style of Picasso and Braque that we've earlier discussed. One has the allusion indeed, that we are looking at a collage of geometric forms made of diverse materials imposed against that background of vague sea and sky”(L43, 4:13).

He wanted to tell the story of each industry in the United State, its different divisions, and the specific distributions of labor. It was the social structure of the American working class, and Rivera wanted to capture all of it. He expressed himself so well and in a way that almost brought a sense of lightness to the demanding and tough work that came along with working in a factory. It's still rather fascinating to me, the process of trying to depict the meaning behind an artists’ piece of artwork. This paper has presented the history behind Diego Rivera’s famous mural paintings “Detroit Industry” and the influence it made on both Mexican and American artwork in the modern world. Rivera has been such an influential and inspirational artist, and in modern times that is sometimes hard to come by. I would definitely like to learn more about him and his wonderful artwork in the near

Artist Joe Stephenson created “Sin Un Pasado, No Hay Futuro” mural located on 2nd Street and Gold, Downtown Albuquerque, in August of 1994 to convey the lesson we are forever frozen in time without the knowledge of our past. Together we can achieve greatness in our future with the guidance of the past. It’s a sad thing when a culture, or tradition is forgotten and lost in time. This mural is showing us how important it is to preserve New Mexican history, culture, and traditions for generations to come and the negative impact it can lead to if we fail to do so.

The use of murals as a tool of political resistance is a long Mexican tradition. “Imagine the park without murals,” said Tommie Camarillo, chairwoman of the Chicano Park Steering Committee, who has been volunteering at the park for 48

The idea of the Chicano community muralism as a requirement for the “art of place” shows that the practice is specific to an area. Even though they are understood in the context of the history of a location, they rarely remain to be a still symbol of a certain moment or a place in the record of events from the past.

It shows the struggle and emotions of the Chicanos. Some of the murals like the mural of Mexican history and an unknown really shows all the aspect of their history. It shows the natives, women, men, revolutionaries and the major figures in Mexican history. The home page shows a drawing that represents the mixture of race which makes up the Chicano identity, the Native, Spaniard, and mestizo. This is a very visual history and one can pick some of the emotions and struggle through the paintings but one needs to understand the written history in order to appreciate it better because it makes it easier to identify especially with the major figures. Michelle Rosado makes an interesting point about the murals in the Chicano web site, when she mentions that "one may think that this is the history of all Mexican-Americans, but it is not. The effect of certain events that occurred in Mexican-American history on this community and California, such as the Chicano Civil Rights Movement and the Chicano Moratorium march against the Vietnam war, is addressed. The major outcome of these events emphasized by the web site is the influence it had on art in the Mexican-American culture. However, the history and other effects on all Mexican-Americans throughout the United states is not discussed". I agre with Michelle Rosado that "similar to the web site it [the documentary] does not talk about the very beggining of the Mexican-American

A prominent and well-respected artist during the Mexican Revolution, Diego Rivera, illustrates principles from the Manifesto of the Communist Party through his artwork, which furthermore demonstrates an influence on Mexican art. His original artwork Man at the Crossroads was destroyed at the Rockefeller Center in New York City after heavy controversy, but remade it in Mexico. Specifically, through Rivera’s Man, Controller of the Universe from1934, it is evident that the Communist Manifesto’s call for outspokenness and principle of abolition of private property for the bourgeois are depicted.

In the socialism and the Arts section, Meade describes how Mexico’s artists sought to express themselves through revolutionary art, murals, describing the struggles of different classes caused by ruling class. In the second reading, Meade argues how Mexico was till behind in terms or women’s rights such as the right to vote; this section is also about president Cardenas was able to bring changes and reforms to help Mexico modernize. In the last reading, the author describes the murals and the impact they had on Mexico; murals started out as something the artists actually wanted to do, to a tool used for propaganda by the state to fulfill their own interests.

Hispanic art, food, and entertainment all have a common theme; they are all fun, light-hearted, yet fulfilling and rich in cultural heritage. On one side, Mexican culture in particular loves to make fun of itself. There are many depictions in song and art of lazy Mexicans in large sombreros with thick mustaches eating burritos. On the other hand artists like Diego Rivera paint large murals depicting rich historical events like the revolution, in bold colors on controversial topics (This Old, n.d.).

These murals are first hand reflections of the Mexican Revolution. In Diego Rivera's Murals, you can see the relationship of social division and the revolution. Everything that was a factor in the cause of the Mexican Revolution can be boiled down to social divisions. Mural #1: Wall Street Banquet, Diego Rivera, 1928

This image may interpret parts of Diego Revers past where he was apart of the Mexican Communist party in 1992 to 1999. He was beginning to form ties with mexico which the party disapproved of. He was able to explore his own passions and became well liked in the United States. The people who opposed his ideas asked for his art to be removed. He was a very popular artist but, also popular in those who disagreed with his views.

During the time of post revolution in the 1920’s, Mexico underwent an enormous transformation from a mostly rural society to a largely industrialized and modern society. The various opinions of the Mexican people and their modernized culture can be put into perspective by the artistic expression of three famous artist Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros. They began a movement with wall paintings that focused on the political and social conditions in Mexico during the 1920’s and gave an in depth story of their point of view through their art. This essay will discuss a moderate overview of the impacts and influences of their art during the 1920’s.