Diego Rivera Art Styles Diego Rivera Frida Kahlo Painting
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In early 20th-century Mexico, a prolonged serial of civil wars and agrarian uprisings concluded a dictatorship and established a constitutional republic. The Mexican Revolution, as the struggle came to exist known, besides occasioned a dramatic shift in the land's art globe: Emboldened and inspired, painters such as married couple Frida Kahlo and Diego Rivera began to experiment with new styles and themes of Mexican identity.
At present, exactly 100 years after the fighting subsided, a traveling exhibition currently on view at the Denver Fine art Museum (DAM) examines how political revolution gave rise to a Renaissance flow in Mexican modern fine art. Titled "Frida Kahlo, Diego Rivera, and Mexican Modernism," the prove unites more than 150 works past luminaries including the eponymous couple, María Izquierdo, Carlos Mérida and Lola Álvarez Bravo.
Per a museum statement, "Mexican Modernism" traces how artists in a postrevolutionary country derived inspiration from Mexico'southward Indigenous cultures and colonial by to "[project] a visionary future."
As exhibition curator Rebecca Hart tells 303 mag's Barbara Urzua, "The Mexican modernists gave visual identity to a new nation of Mexico and that identity incorporated aspects of ancient Mexican aesthetics and the near modernistic art styles."
Nigh of the works featured in the show are on loan from the collection of Jacques and Natasha Gelman, European expatriates who moved to Mexico separately prior to the start of World State of war II. Jacques was an influential producer of Mexican films, and subsequently the couple'south wedding in 1941, the Gelmans became key collectors of the country's flourishing art scene.
One of the works on view in the exhibition is Izquierdo's Naturaleza Viva, or Living Nature (1946), which depicts typical Mexican produce and a conch shell in a dream-like landscape. Izquierdo, like many of her peers, demonstrated a strong interest in both symbols of Mexican sociology and the surreal quality associated with magical realism.
Another featured painting—Mérida'due south abstract Festival of the Birds (1959)—demonstrates the diverseness of thought amidst artists working in Mexico at the time. According to Encyclopedia Britannica, Mérida, a Guatemalan artist who lived in United mexican states, created geometric abstractions influenced past both European modernism and ancient Maya fine art.
"Mexican Modernism" also includes seven of Kahlo'south self-portraits, which accept get famous in recent decades for their rich, thought-provoking explorations of gender, trauma, identity and nationality.
In Diego on My Heed (1943), Kahlo depicts herself wearing a traditional headdress from Tehuantepec, a city in the state of Oaxaca. A small portrait of her on-again off-over again husband, Diego, decorates her forehead, and sparse tendrils resembling roots extend in all directions from her serious gaze.
"Frida is deeply psychological," Hart tells the Denver Gazette's Jennifer Mulson. "Who do yous empathise all-time simply yourself?"
Though Kahlo was long associated mainly with her husband, feminist scholarship in the 1970s helped to establish her creative legacy as deeply influential in its ain right. In recent years, public involvement in the artist's life and work has skyrocketed.
Writing for Denver art magazine Westword, critic Michael Paglia deems the exhibition'south opening image, Rivera's iconic Calla Lilly Vendor (1943), a "showstopper." The painting, which depicts Indigenous women kneeling away from the viewer and organizing a glorious set of white lilies, demonstrates Rivera'southward progressive social involvement in deifying ordinary labor and quotidian Mexican life.
Rivera, alongside contemporaries David Alfaro Siqueiros and José Clemente Orozco, likewise participated in the renowned Mexican muralist movement, a state-led effort that aimed unify the divided state through large-scale, nationalist murals.
Kahlo, Rivera and their contemporaries existed at the center of bohemian, vibrant intellectual circles that thrived in United mexican states Urban center in the mail-state of war decades. Both were members of the Mexican Communist Party and deeply invested in the political movements of their fourth dimension. Kahlo fifty-fifty had a brief affair with Russian revolutionary Leon Trotsky, as Alexxa Gotthardt noted for Artsy in 2019.
"They were politically, socially and intellectually engaged," Hart tells the Gazette. "Their business firm, La Casa Azul, south of United mexican states City, became a center where people exchanged ideas. That was very instrumental in the nativity of Mexican modernism."
" Frida Kahlo, Diego Rivera, and Mexican Modernism" is on view at the Denver Art Museum through January 24, 2021.
Source: https://www.smithsonianmag.com/smart-news/frida-kahlo-diego-rivera-mexican-art-denver-180976141/
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