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 :. | Power | Creep the Crag | Landscape | kallor | Tempt |
Related Artists:
Henry Schafer
Br.1873-1915
Naldini, Giovanni Battista
Italian, 1537-91 was an Italian painter of a late-Mannerism in Florence. His first apprenticeship (1549-57) was in the studio of Jacopo Pontormo. He went from Rome for a number of months following 1560, and was recruited to work for Giorgio Vasari in 1562. He painted two crowded, mannerist canvas for the Studiolo of Francesco I in the Palazzo Vecchio: the Allegory of Dreams and the Gathering of Ambergris. He supplied altarpieces to Santa Maria Novella and Santa Croce. He painted an altarpiece of Calling of Saint Matthew for the Salviati Chapel in San Marco, where he worked alongside Francesco Morandini. Ultimately, he is aptly described by Freedberg as displaying work distantly derivative from the style of Andrea del Sarto, as expressed by Naldini's two mentors and Sarto's two pupils: Pontormo and Vasari.
Adriaen van de Venne
Delft 1589-The Hague 1662 Dutch painter, draughtsman and poet. De Bie's account (1661) is the only known source on van de Venne's youth and training. He was born of 'worthy' parents who had fled to Delft from the southern Netherlands to escape war and religious strife. Inspired by his early study of Latin to become an illustrator, he was partly self-taught but also received instruction in painting and illumination from the otherwise unrecorded Leiden goldsmith and painter Simon de Valck. His second teacher, Hieronymus van Diest,