LaurieAnnie's photos with the keyword: Mexican

Diego Rivera Flower Festival: Feast of Santa Anita October 13, 1931 Medium: Encaustic on canvas Dimensions: 6' 6 1/2" x 64" (199.3 x 162.5 cm) Credit: Gift of Abby Aldrich Rockefeller Object number: 23.1936 Department: Painting and Sculpture Rivera spent the tumultuous years of the Mexican Revolution (1910–20) painting and traveling abroad in Europe. Upon returning to his native country in 1921, he exalted indigenous Mexican people and traditions, making them a central subject of his work. As he later recalled, "My homecoming aroused an aesthetic rejoicing in me which is impossible to describe. . . . Everywhere I saw a potential masterpiece—in the crowds, the markets, the festivals, the marching battalions, the workers in the workshops, the fields—in every shining face, every radiant child." This painting, depicting a flower festival held on Good Friday in a town then called Santa Anita, was included in a solo exhibition of Rivera's work at MoMA in 1931. Only the second artist (after Henri Matisse) to receive this honor, Rivera was, at the time, an international celebrity: the New York Sun hailed him as "the most talked about artist on this side of the Atlantic."--- Gallery label from 2009. Text from: www.moma.org/collection/works/78492

Diego Rivera Flower Festival: Feast of Santa Anita October 13, 1931 Medium: Encaustic on canvas Dimensions: 6' 6 1/2" x 64" (199.3 x 162.5 cm) Credit: Gift of Abby Aldrich Rockefeller Object number: 23.1936 Department: Painting and Sculpture Rivera spent the tumultuous years of the Mexican Revolution (1910–20) painting and traveling abroad in Europe. Upon returning to his native country in 1921, he exalted indigenous Mexican people and traditions, making them a central subject of his work. As he later recalled, "My homecoming aroused an aesthetic rejoicing in me which is impossible to describe. . . . Everywhere I saw a potential masterpiece—in the crowds, the markets, the festivals, the marching battalions, the workers in the workshops, the fields—in every shining face, every radiant child." This painting, depicting a flower festival held on Good Friday in a town then called Santa Anita, was included in a solo exhibition of Rivera's work at MoMA in 1931. Only the second artist (after Henri Matisse) to receive this honor, Rivera was, at the time, an international celebrity: the New York Sun hailed him as "the most talked about artist on this side of the Atlantic."--- Gallery label from 2009. Text from: www.moma.org/collection/works/78492

Diego Rivera Agrarian Leader Zapata 1931 Medium: Fresco on reinforced cement in galvanized-steel framework Dimensions: 7' 9 3/4" x 6' 2" (238.1 x 188 cm) Credit: Abby Aldrich Rockefeller Fund Object number: 1631.1940 Department: Painting and Sculpture Zapata líder agrario (Agrarian Leader Zapata) replicates a detail of a large-scale mural Rivera painted in 1930 in Cuernavaca, in the Mexican state of Morelos. It features the state’s revolutionary leader Emiliano Zapata, who fought to reclaim communal lands and water access from encroaching sugarcane plantations on behalf of displaced farming communities. He is depicted carrying a sugar-cutter’s machete and dressed in humble white farmworker clothing, rather than in the black charro (horseman) outfit in which he is usually pictured. Rivera emphasized Zapata’s rural origins and his battle for land reform as central to the post-revolutionary idea of Mexico.-- Gallery label from 2022 In the 1920s, after the Mexican Revolution, Rivera was among the painters who developed an art of public murals to celebrate Mexico’s indigenous culture and to teach the nation’s people about their history and the new government’s dreams for their future. Rivera had lived in Paris and knew modernist painting well. He had also visited Italy to study Renaissance frescoes, a mural form that Mexican artists and politicians recognized as a valuable medium of education and inspiration. Returning to Mexico in 1921, Rivera began a remarkable series of frescoes—paintings made on moist plaster, so that the pigments fuse with the plaster as it dries. In 1931 MoMA hosted a major exhibition of Rivera’s work. Unable to transport his murals, the Museum instead brought the artist to New York six weeks before the show’s opening and provided him with a makeshift studio in the gallery. Agrarian Leader Zapata, one of five “portable murals” made on this occasion, replicates part of a fresco he had painted in 1930 in the Palace of Cortés, Cuernavaca. Emiliano Zapata had been a leader of the Mexican Revolution. (He was killed in 1919, a victim of the revolution’s internal struggles.) Rivera painted him wearing the local costume of the Cuernavaca region and carrying a sugarcane-cutter’s machete. Though Mexican and US newspapers regularly vilified Zapata as a treacherous bandit, Rivera immortalized him as a hero and glorified the revolution in an image of violent but just vengeance.-- Publication excerpt from MoMA Highlights: 375 Works from The Museum of Modern Art, New York (New York: The Museum of Modern Art, 2019) Emiliano Zapata, a champion of agrarian reform and a key protagonist in the Mexican Revolution, here leads a band of peasant rebels armed with provisional weapons, including farming tools. With the bridle of a majestic white horse in his hand, Zapata stands triumphantly beside the dead body of a hacienda owner. Though Mexican and U.S. newspapers regularly vilified the revolutionary leader as a treacherous bandit, Rivera immortalized Zapata as a hero and glorified the victory of the Revolution in an image of violent but just vengeance. Rivera's depiction also departs from portrayals of the rebel propagated by Zapata himself. An expert horseman, Zapata consistently presented himself as a charro, a cowboy whose flamboyant dress—tight pants and a vest with silver ornamentation—signaled an elevated class status in Mexico. Rivera’s vision of Zapata as a humble peasant offers a sympathetic portrait of a folk hero tirelessly devoted to agrarian reform. --- Gallery label from Diego Rivera: Murals for The Museum of Modern Art, November 13, 2011-May 14, 2012 Text from: www.moma.org/collection/works/80682

Diego Rivera Agrarian Leader Zapata 1931 Medium: Fresco on reinforced cement in galvanized-steel framework Dimensions: 7' 9 3/4" x 6' 2" (238.1 x 188 cm) Credit: Abby Aldrich Rockefeller Fund Object number: 1631.1940 Department: Painting and Sculpture Zapata líder agrario (Agrarian Leader Zapata) replicates a detail of a large-scale mural Rivera painted in 1930 in Cuernavaca, in the Mexican state of Morelos. It features the state’s revolutionary leader Emiliano Zapata, who fought to reclaim communal lands and water access from encroaching sugarcane plantations on behalf of displaced farming communities. He is depicted carrying a sugar-cutter’s machete and dressed in humble white farmworker clothing, rather than in the black charro (horseman) outfit in which he is usually pictured. Rivera emphasized Zapata’s rural origins and his battle for land reform as central to the post-revolutionary idea of Mexico.-- Gallery label from 2022 In the 1920s, after the Mexican Revolution, Rivera was among the painters who developed an art of public murals to celebrate Mexico’s indigenous culture and to teach the nation’s people about their history and the new government’s dreams for their future. Rivera had lived in Paris and knew modernist painting well. He had also visited Italy to study Renaissance frescoes, a mural form that Mexican artists and politicians recognized as a valuable medium of education and inspiration. Returning to Mexico in 1921, Rivera began a remarkable series of frescoes—paintings made on moist plaster, so that the pigments fuse with the plaster as it dries. In 1931 MoMA hosted a major exhibition of Rivera’s work. Unable to transport his murals, the Museum instead brought the artist to New York six weeks before the show’s opening and provided him with a makeshift studio in the gallery. Agrarian Leader Zapata, one of five “portable murals” made on this occasion, replicates part of a fresco he had painted in 1930 in the Palace of Cortés, Cuernavaca. Emiliano Zapata had been a leader of the Mexican Revolution. (He was killed in 1919, a victim of the revolution’s internal struggles.) Rivera painted him wearing the local costume of the Cuernavaca region and carrying a sugarcane-cutter’s machete. Though Mexican and US newspapers regularly vilified Zapata as a treacherous bandit, Rivera immortalized him as a hero and glorified the revolution in an image of violent but just vengeance.-- Publication excerpt from MoMA Highlights: 375 Works from The Museum of Modern Art, New York (New York: The Museum of Modern Art, 2019) Emiliano Zapata, a champion of agrarian reform and a key protagonist in the Mexican Revolution, here leads a band of peasant rebels armed with provisional weapons, including farming tools. With the bridle of a majestic white horse in his hand, Zapata stands triumphantly beside the dead body of a hacienda owner. Though Mexican and U.S. newspapers regularly vilified the revolutionary leader as a treacherous bandit, Rivera immortalized Zapata as a hero and glorified the victory of the Revolution in an image of violent but just vengeance. Rivera's depiction also departs from portrayals of the rebel propagated by Zapata himself. An expert horseman, Zapata consistently presented himself as a charro, a cowboy whose flamboyant dress—tight pants and a vest with silver ornamentation—signaled an elevated class status in Mexico. Rivera’s vision of Zapata as a humble peasant offers a sympathetic portrait of a folk hero tirelessly devoted to agrarian reform. --- Gallery label from Diego Rivera: Murals for The Museum of Modern Art, November 13, 2011-May 14, 2012 Text from: www.moma.org/collection/works/80682

Diego Rivera Agrarian Leader Zapata 1931 Medium: Fresco on reinforced cement in galvanized-steel framework Dimensions: 7' 9 3/4" x 6' 2" (238.1 x 188 cm) Credit: Abby Aldrich Rockefeller Fund Object number: 1631.1940 Department: Painting and Sculpture Zapata líder agrario (Agrarian Leader Zapata) replicates a detail of a large-scale mural Rivera painted in 1930 in Cuernavaca, in the Mexican state of Morelos. It features the state’s revolutionary leader Emiliano Zapata, who fought to reclaim communal lands and water access from encroaching sugarcane plantations on behalf of displaced farming communities. He is depicted carrying a sugar-cutter’s machete and dressed in humble white farmworker clothing, rather than in the black charro (horseman) outfit in which he is usually pictured. Rivera emphasized Zapata’s rural origins and his battle for land reform as central to the post-revolutionary idea of Mexico.-- Gallery label from 2022 In the 1920s, after the Mexican Revolution, Rivera was among the painters who developed an art of public murals to celebrate Mexico’s indigenous culture and to teach the nation’s people about their history and the new government’s dreams for their future. Rivera had lived in Paris and knew modernist painting well. He had also visited Italy to study Renaissance frescoes, a mural form that Mexican artists and politicians recognized as a valuable medium of education and inspiration. Returning to Mexico in 1921, Rivera began a remarkable series of frescoes—paintings made on moist plaster, so that the pigments fuse with the plaster as it dries. In 1931 MoMA hosted a major exhibition of Rivera’s work. Unable to transport his murals, the Museum instead brought the artist to New York six weeks before the show’s opening and provided him with a makeshift studio in the gallery. Agrarian Leader Zapata, one of five “portable murals” made on this occasion, replicates part of a fresco he had painted in 1930 in the Palace of Cortés, Cuernavaca. Emiliano Zapata had been a leader of the Mexican Revolution. (He was killed in 1919, a victim of the revolution’s internal struggles.) Rivera painted him wearing the local costume of the Cuernavaca region and carrying a sugarcane-cutter’s machete. Though Mexican and US newspapers regularly vilified Zapata as a treacherous bandit, Rivera immortalized him as a hero and glorified the revolution in an image of violent but just vengeance.-- Publication excerpt from MoMA Highlights: 375 Works from The Museum of Modern Art, New York (New York: The Museum of Modern Art, 2019) Emiliano Zapata, a champion of agrarian reform and a key protagonist in the Mexican Revolution, here leads a band of peasant rebels armed with provisional weapons, including farming tools. With the bridle of a majestic white horse in his hand, Zapata stands triumphantly beside the dead body of a hacienda owner. Though Mexican and U.S. newspapers regularly vilified the revolutionary leader as a treacherous bandit, Rivera immortalized Zapata as a hero and glorified the victory of the Revolution in an image of violent but just vengeance. Rivera's depiction also departs from portrayals of the rebel propagated by Zapata himself. An expert horseman, Zapata consistently presented himself as a charro, a cowboy whose flamboyant dress—tight pants and a vest with silver ornamentation—signaled an elevated class status in Mexico. Rivera’s vision of Zapata as a humble peasant offers a sympathetic portrait of a folk hero tirelessly devoted to agrarian reform. --- Gallery label from Diego Rivera: Murals for The Museum of Modern Art, November 13, 2011-May 14, 2012 Text from: www.moma.org/collection/works/80682

José Clemente Orozco Zapatistas 1931 Medium: Oil on canvas Dimensions: 45 x 55" (114.3 x 139.7 cm) Credit: Given anonymously Object number: 470.1937 Department: Painting and Sculpture In the late 1920s and 1930s Mexico's most famous muralists, Orozco, Diego Rivera, and David Alfaro Siqueiros—known as Los tres grandes (The Big Three)—spent significant time living and working in the United States. Although their styles differed dramatically, the slain revolutionary peasant leader Emiliano Zapata (1879–1919) figures prominently in their work. Unlike Rivera, who always took a celebratory approach in representing Zapata and his supporters, in this painting Orozco depicts a somber moment in the Mexican Revolution as Zapatistas—Zapata's followers—march toward their death. "I don’t trust revolutions or glorify them since I witnessed too much butchery," Orozco later remarked. His trademark palette, dominated by blacks and earthy reds, underscores the violent nature of the subject matter and echoes the colors in the political caricatures he made early in his career for revolutionary journals.-- Gallery label from 2009. The slain revolutionary leader Emiliano Zapata (1879–1919) figures prominently in the work of Mexican artists of the 1920s and 1930s. In this painting Orozco depicts a somber moment in the Mexican Revolution, as Zapatistas—Zapata's peasant followers—march to their deaths. "I don't trust revolutions or glorify them, since I witnessed too much butchery," Orozco later remarked, referring to his experience in the Revolution. His trademark palette, dominated by blacks and earthy reds, underscores the violent nature of the subject matter and echoes the colors in the political caricatures he made for revolutionary journals early in his career.-- Gallery label from 2011. Text from: www.moma.org/collection/works/79798

José Clemente Orozco Zapatistas 1931 Medium: Oil on canvas Dimensions: 45 x 55" (114.3 x 139.7 cm) Credit: Given anonymously Object number: 470.1937 Department: Painting and Sculpture In the late 1920s and 1930s Mexico's most famous muralists, Orozco, Diego Rivera, and David Alfaro Siqueiros—known as Los tres grandes (The Big Three)—spent significant time living and working in the United States. Although their styles differed dramatically, the slain revolutionary peasant leader Emiliano Zapata (1879–1919) figures prominently in their work. Unlike Rivera, who always took a celebratory approach in representing Zapata and his supporters, in this painting Orozco depicts a somber moment in the Mexican Revolution as Zapatistas—Zapata's followers—march toward their death. "I don’t trust revolutions or glorify them since I witnessed too much butchery," Orozco later remarked. His trademark palette, dominated by blacks and earthy reds, underscores the violent nature of the subject matter and echoes the colors in the political caricatures he made early in his career for revolutionary journals.-- Gallery label from 2009. The slain revolutionary leader Emiliano Zapata (1879–1919) figures prominently in the work of Mexican artists of the 1920s and 1930s. In this painting Orozco depicts a somber moment in the Mexican Revolution, as Zapatistas—Zapata's peasant followers—march to their deaths. "I don't trust revolutions or glorify them, since I witnessed too much butchery," Orozco later remarked, referring to his experience in the Revolution. His trademark palette, dominated by blacks and earthy reds, underscores the violent nature of the subject matter and echoes the colors in the political caricatures he made for revolutionary journals early in his career.-- Gallery label from 2011. Text from: www.moma.org/collection/works/79798

Girl with a Mask Juan Soriano, Mexican, 1920 - 2006 Date: 1945 Medium: Oil on canvas Dimensions: 31 5/8 x 39 1/2 inches (80.3 x 100.3 cm) Curatorial Department: Modern Art Object Location: Currently not on view Accession Number: 1947-24-1 Credit Line: Gift of Mrs. Herbert Cameron Morris, 1947 Text from: www.philamuseum.org/collections/permanent/50252.html?mulR=2125741435|4

Girl with a Mask Juan Soriano, Mexican, 1920 - 2006 Date: 1945 Medium: Oil on canvas Dimensions: 31 5/8 x 39 1/2 inches (80.3 x 100.3 cm) Curatorial Department: Modern Art Object Location: Currently not on view Accession Number: 1947-24-1 Credit Line: Gift of Mrs. Herbert Cameron Morris, 1947 Text from: www.philamuseum.org/collections/permanent/50252.html?mulR=2125741435|4

Girl with a Mask Juan Soriano, Mexican, 1920 - 2006 Date: 1945 Medium: Oil on canvas Dimensions: 31 5/8 x 39 1/2 inches (80.3 x 100.3 cm) Curatorial Department: Modern Art Object Location: Currently not on view Accession Number: 1947-24-1 Credit Line: Gift of Mrs. Herbert Cameron Morris, 1947 Text from: www.philamuseum.org/collections/permanent/50252.html?mulR=2125741435|4