Diego Rivera paintings are large wall works in fresco. They help established the Mexican Mural Renaissance. Diego Rivera was a world-famous Mexican painter, an active communist and a husband to Frida Kahlo.
Cubism was the initial focus of Diego Rivera paintings. With their simple forms and large patches of colors, they began to shift towards Post-Impressionism, a shift inspired by the Paul Cezanne paintings. As they began to attract the attention of their viewing public, they were ultimately displayed at a number of painting exhibitions.
Creation was the first significant mural among the Diego Rivera paintings. It was done in 1922 and painted in encaustic in an experimental manner. The following Diego Rivera murals were done only in fresco. They dealt with Mexican society while reflecting the 1910 Mexican revolution.
Beginning in September, 1922, the Diego Rivera paintings featured a development of a native style based on large, simplified figures and colors with an Aztec influence.
In The Arsenal, a mural by Diego, is a perfect example of how Diego Rivera paintings tell stories. The mural shows Tina Modotti with an ammunition belt on hand, faced to faced with Julio Antonio Mella, in a light hat. Behind Modotti was Vittorio Vidale, in a black hat. Based on this painting, viewers believed that Diego had knowledge of Vidale's plan to murder Mella.
Detroit Industry, a series of 27 fresco panels, consisted the Diego Rivera paintings between 1932 and 1933. Containing a Vladimir Lenin portrait was a Diego Rivera mural in 1933 entitled Man at the Crossroads. This particular mural was retitled Man, Controller of the Universe, after it was repainted in 1934.
Laying the foundations for the transition from the artistic endeavour conception of the 19th century to a new and radically different work of art of the 20th century were the Cezanne paintings. In short, Cezanne paintings were the bridge between the 19th century Impressionism and the early 20th century Cubism.
Paul Cezanne was a French artist and Post-Impressionist painter, often called the Father of Modern Art. Cezanne paintings demonstrated a mastery of design, color, composition and draftsmanship. They featured repetitive, sensitive and exploratory brushstrokes that are highly characteristic and clearly recognizable.
Building up to the formation of complex fields are the planes of color and small brushstrokes presented in Cezanne paintings. The sensations of the observing eye as well as the abstractions from observed nature are directly expressed in these paintings. Other than conveying Paul's intense study of his subjects, they also show Paul's searching gaze and his struggle in dealing with the intricacies of human visual perception.
The development of an ideal synthesis among naturalistic representation, personal expression and abstract pictorial order is the objective of Cezanne paintings. A suggestion of the moody and romantic expressionism of previous generations is the dark tones of the early Cezanne paintings. These tones were applied with heavy and fluid colors.
It was a commitment to contemporary life representations that Cezanne paintings eventually developed into. They became Paul's own observation of the world. They were no longer concerned with either thematic idealization or stylistic affection.
Cubism was the initial focus of Diego Rivera paintings. With their simple forms and large patches of colors, they began to shift towards Post-Impressionism, a shift inspired by the Paul Cezanne paintings. As they began to attract the attention of their viewing public, they were ultimately displayed at a number of painting exhibitions.
Creation was the first significant mural among the Diego Rivera paintings. It was done in 1922 and painted in encaustic in an experimental manner. The following Diego Rivera murals were done only in fresco. They dealt with Mexican society while reflecting the 1910 Mexican revolution.
Beginning in September, 1922, the Diego Rivera paintings featured a development of a native style based on large, simplified figures and colors with an Aztec influence.
In The Arsenal, a mural by Diego, is a perfect example of how Diego Rivera paintings tell stories. The mural shows Tina Modotti with an ammunition belt on hand, faced to faced with Julio Antonio Mella, in a light hat. Behind Modotti was Vittorio Vidale, in a black hat. Based on this painting, viewers believed that Diego had knowledge of Vidale's plan to murder Mella.
Detroit Industry, a series of 27 fresco panels, consisted the Diego Rivera paintings between 1932 and 1933. Containing a Vladimir Lenin portrait was a Diego Rivera mural in 1933 entitled Man at the Crossroads. This particular mural was retitled Man, Controller of the Universe, after it was repainted in 1934.
Laying the foundations for the transition from the artistic endeavour conception of the 19th century to a new and radically different work of art of the 20th century were the Cezanne paintings. In short, Cezanne paintings were the bridge between the 19th century Impressionism and the early 20th century Cubism.
Paul Cezanne was a French artist and Post-Impressionist painter, often called the Father of Modern Art. Cezanne paintings demonstrated a mastery of design, color, composition and draftsmanship. They featured repetitive, sensitive and exploratory brushstrokes that are highly characteristic and clearly recognizable.
Building up to the formation of complex fields are the planes of color and small brushstrokes presented in Cezanne paintings. The sensations of the observing eye as well as the abstractions from observed nature are directly expressed in these paintings. Other than conveying Paul's intense study of his subjects, they also show Paul's searching gaze and his struggle in dealing with the intricacies of human visual perception.
The development of an ideal synthesis among naturalistic representation, personal expression and abstract pictorial order is the objective of Cezanne paintings. A suggestion of the moody and romantic expressionism of previous generations is the dark tones of the early Cezanne paintings. These tones were applied with heavy and fluid colors.
It was a commitment to contemporary life representations that Cezanne paintings eventually developed into. They became Paul's own observation of the world. They were no longer concerned with either thematic idealization or stylistic affection.
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