Mexican Social Realist Muralist, 1886-1957,Mexican muralist. After study in Mexico City and Spain, he settled in Paris from 1909 to 1919. He briefly espoused Cubism but abandoned it c. 1917 for a visual language of simplified forms and bold areas of colour. He returned to Mexico in 1921, seeking to create a new national art on revolutionary themes in the wake of the Mexican Revolution. He painted many public murals, the most ambitious of which is in the National Palace (1929 ?C 57). From 1930 to 1934 he worked in the U.S. His mural for New York's Rockefeller Center aroused a storm of controversy and was ultimately destroyed because it contained the figure of Vladimir Ilich Lenin; he later reproduced it at the Palace of Fine Arts in Mexico City. With Jose Clemente Orozco and David Alfaro Siqueiros, Rivera created a revival of fresco painting that became Mexico's most significant contribution to 20th-century art. His large-scale didactic murals contain scenes of Mexican history, culture, and industry, with Indians, peasants, conquistadores, and factory workers drawn as simplified figures in crowded, shallow spaces. Rivera was twice married to Frida Kahlo.   Related Paintings of Diego Rivera :. | Series of Flower | Portrait of Malin | Dancing | No title | indian spinning |
Related Artists:
Jacob Duck
1600-1667 Dutch Jacob Duck Location Dutch painter and etcher. He was long confused with Jan le Ducq (1629/30-76). In 1621 he was listed as an apprentice portrait painter in the records of the Utrecht Guild of St Luke. His teacher was probably Joost Cornelisz. Droochsloot (1586-1666). The St Job Hospital in Utrecht acquired a Musical Company by him in 1629. By 1630-32 he was a master in the guild. Like Pieter Codde, he painted guardroom scenes (kortegaerdjes), for example Soldiers Arming Themselves (c. 1635; New York, H. Shickman Gal., see 1984 exh. cat., no. 36) or the Hoard of Booty (Paris, Louvre), in which the figures and their interactions are apparently full of underlying symbolic meaning. He also painted merry companies (e.g. c. 1630; Names, Mus. B.-A.) and domestic activities, such as Woman Ironing (Utrecht, Cent. Mus.), employing motifs perhaps symbolic of domestic virtue. He placed his figures in high, bare interiors in which the deep local colours of the foreground stand out well against the cool, greyish-brown background. Only a few of his etchings are known (Hollstein, Dut. & Flem., vi, pp. 9-11), depicting figures in contemporary dress, for example Young Gentleman with Broad Hat and Cloak (Hollstein, no. 10) or Virgin and Child with Magi (nos 1-4). Between 1631 and 1649 Duck presence is documented in Utrecht, Haarlem and Wijk bij Duurstede. Afterwards, and probably by 1656, he was living in The Hague. He was buried at the monastery of St Mary Magdalene in Utrecht.
Moritz von Schwind
Austrian Romantic Painter, 1804-1871 Austrian painter and illustrator. He studied at the Akademie der Bildende K?nste in Vienna (1821-3), where he was influenced by the Biedermeier genre painter Peter Krafft and the Nazarene painter Ludwig Ferdinand Schnorr von Carolsfeld. He made copies after the Old Masters at the Belvedere in Vienna, exploring especially D?rer, Albrecht Altdorfer, Raphael and Titian, which completed his early, largely autodidactic experience of art. His friendship with Franz Schubert, the poet and playwright Franz Grillparzer and the painters Ferdinand and Friedrich Olivier, as well as the cultural environment of Biedermeier Vienna in his years there between 1823 and 1828, shaped his spiritual development as a painter. His love of music inspired his later 'symphonic' compositions and flowing linear rhythms. Extensive reading of the work of Romantic writers such as Achim von Arnim, Clemens von Brentano, Ludwig Tieck, Friedrich Heinrich von Hagen and the brothers Jacob and Wilhelm Grimm helped prepare his mature pictorial themes of fairytales, legends and sagas. He was unsuccessful as a painter and eked out a meagre livelihood by drawing naturalistic genre scenes for engravers, while occasionally selling a painting. Walk before the City Gate
Francesco Caccianiga
Francesco Caccianiga (1700-1781) was an Italian painter and engraver. He was born in Milan. In Bologna, he became a pupil of Marcantonio Franceschini. He afterwards visited Rome, where he established himself under the patronage of Prince Borghese, for whom he executed some considerable works in the Palazzo and the Villa Borghese. His principal works are at Ancona, where he painted several altar-pieces, among them, Marriage of the Virgin and Last Supper.