Mexican Murals and Diego Rivera and Viano

MexicanMurals and Diego Rivera and Viano

MexicanMurals and Diego Rivera&quot and Viano

Oneobservation from these readings indicates that the birth of theMexican muralist appears to have begun from a form of a funded publicart with particularly large-scale paintings on the civic buildingsduring the revolution that occurred from 1910 to 1920 (Lewisohn,1935). The revolution appears to have played a significant role inshaping the art of Mexico. After the revolution, the administrationthen took the challenging task of transforming Mexico into a nationthat is coherent. Another observation that I made from the readingsis that a keen look at the Spanish invasion depicts a history that ismore complex. One thing I did not know is that the first city ofTenochtitlan which had the culture of the Aztecs as the indigenouspeople is what is now referred to as the Mexico City. Furthermore,Mexico had to establish an official history which the citizens woulduse to define themselves through a medium that would incorporateevery Mexican.

Asa result, three artists emerged out of Mexico, who was Rivera, JoseClemente, and Alfaro Siqueiros. Nonetheless, it is clear that DiegoRivera was a master in crafting visual languages of expressing hisbeliefs and ideas. In his entire life, he made an effort to definethe culture of Mexico together with his life through art and writing.As a result Rivera was able to foster a Mexican identity by observingthe ancient tradition and its indigenous population. Nonetheless, thelanguage he established was fashioned to address both political andartistic agendas. Nevertheless, Lewisohn (1935) also notes thatRivera and Orozco are the most highlighted artists whose arts, forinstance, the death of the peon by Rivera represents the suffering ofthe peasants in Mexico. Most of his arts are heroic because theypaint a clear picture of what took place in Mexico.

Reference

Lewisohn,S. A. (1935). Mexican Murals and Diego Rivera. Parnassus, 7(7),11-12.