Huge wall paintings in fresco are the Diego Rivera paintings. The establishment of the Mexican Mural Renaissance is what they are known for. Three characteristics of Diego Rivera are his being a world famous painter, active communist and husband to Frida Kahlo.
Diego Rivera paintings initially embraced cubism. They shifted towards Post-Impressionism with simple forms and large patches of vivid colors, inspired by the paintings of Paul Cezanne. They began to attract attention and displayed at several exhibitions.
The first significant mural among the Diego Rivera paintings was Creation, experimentally painted in encaustic in 1922. The subsequent murals Diego painted were in fresco only, dealing with Mexican society and reflected the Mexican revolution of 1910.
On the basis of large, simplified figures and colors, the Diego Rivera paintings reflected a native style development. This started in September, 1922. There was a sprinkle of Aztec influence noted in these paintings as well.
Story telling is a feature of Diego Rivera paintings. A perfect example of this feature in Diego's mural entitled In The Arsenal. In this mural, Tina Modotti is shown holding an ammunition belt while facing Julio Antonio Mella, wearing a light hat and standing in front of Vittorio Vidale, wearing a black hat. The painting was considered by some spectators as evidence that Diego had prior knowledge of Vidale's murdering Mella.
Consisting of a series of 27 fresco panels were the Diego Rivera paintings between 1932 and 1933.This series was entitled Detroit Industry. Also completed in 1933 was a mural containing a portrait of Vladimir Lenin entitled Man at the Crossroads. This particular mural was repainted in 1934 and subsequently entitled Man, Controller of the Universe.
Cezanne paintings laid the foundations for the transition from the 19th century conception of artistic endeavour to a new and radically different 20th century work of art. They formed the bridge between late 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.
Planes of color and small brushstrokes, that build up to form complex fields, are signatures of Cezanne paintings. They directly expressed the sensations of an observing eye and abstractions from an observed nature. Paul studied his subjects intensely and this is conveyed in his paintings, which also reflected his searching gaze and struggle to deal with human visual perception complexity.
Cezanne paintings strove to develop an ideal synthesis of naturalistic representation, personal expression and abstract pictorial order. The early Cezanne paintings were painted in dark tones applied with heavy, fluid pigment. They suggested the moody and romantic expressionism of previous generations.
Cezanne paintings gradually developed into a commitment to contemporary life representation. They painted the world as observed by Paul sans concern for thematic idealization and stylistic affectation.
Diego Rivera paintings initially embraced cubism. They shifted towards Post-Impressionism with simple forms and large patches of vivid colors, inspired by the paintings of Paul Cezanne. They began to attract attention and displayed at several exhibitions.
The first significant mural among the Diego Rivera paintings was Creation, experimentally painted in encaustic in 1922. The subsequent murals Diego painted were in fresco only, dealing with Mexican society and reflected the Mexican revolution of 1910.
On the basis of large, simplified figures and colors, the Diego Rivera paintings reflected a native style development. This started in September, 1922. There was a sprinkle of Aztec influence noted in these paintings as well.
Story telling is a feature of Diego Rivera paintings. A perfect example of this feature in Diego's mural entitled In The Arsenal. In this mural, Tina Modotti is shown holding an ammunition belt while facing Julio Antonio Mella, wearing a light hat and standing in front of Vittorio Vidale, wearing a black hat. The painting was considered by some spectators as evidence that Diego had prior knowledge of Vidale's murdering Mella.
Consisting of a series of 27 fresco panels were the Diego Rivera paintings between 1932 and 1933.This series was entitled Detroit Industry. Also completed in 1933 was a mural containing a portrait of Vladimir Lenin entitled Man at the Crossroads. This particular mural was repainted in 1934 and subsequently entitled Man, Controller of the Universe.
Cezanne paintings laid the foundations for the transition from the 19th century conception of artistic endeavour to a new and radically different 20th century work of art. They formed the bridge between late 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.
Planes of color and small brushstrokes, that build up to form complex fields, are signatures of Cezanne paintings. They directly expressed the sensations of an observing eye and abstractions from an observed nature. Paul studied his subjects intensely and this is conveyed in his paintings, which also reflected his searching gaze and struggle to deal with human visual perception complexity.
Cezanne paintings strove to develop an ideal synthesis of naturalistic representation, personal expression and abstract pictorial order. The early Cezanne paintings were painted in dark tones applied with heavy, fluid pigment. They suggested the moody and romantic expressionism of previous generations.
Cezanne paintings gradually developed into a commitment to contemporary life representation. They painted the world as observed by Paul sans concern for thematic idealization and stylistic affectation.
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