Word: muralitis
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Dates: during 1940-1949
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Eliot and Mrs. Brine's motive in being with Rivera was, of course, to get to know him and his work at first hand. In the process they underwent a thorough lecture course on mural painting and on pre-Cortesian sculpture. Rivera showed them hundreds of his sculptures, one by one, and stood for hours on end while he explained his archaeological theories. He also accompanied them on a trip to see his murals. After a long, silent examination of one of them Rivera turned and said: "I haven't seen this mural since I painted...
...meant by destiny to rule the world will inevitably be destroyed . . . The Anglo-Saxons are in serious danger of taking just that step." Optimistically, Wallace added that he hoped "we may all soon meet in Moscow." At a $10-a-plate dinner, backed by a huge "antiwar" mural by Masses & Mainstream Cartoonist William Cropper, stout, bearded Charles Stewart, public-relations man for the Churchman, took up a collection. He raised close to $20,000 from the 1,900 diners, with the exhortation: "This meeting is only a beginning...
...murals, for which he is most famed, are often as vast as novels, while the paintings of most of his contemporaries are short stories at best. Among Rivera's own mural-painting countrymen, none can match either his native drive or his European-trained virtuosity...
...next decade, Rivera did what is probably his greatest work: 124 frescoes in the Ministry of Education, a historical mural in the Cortés Palace at Cuernavaca, and his frescoes in the old expropriated chapel that has been part of Mexico's Agricultural School at Chapingo since 1920. Part of the chapel at Chapingo he decorated with an agricultural allegory in which the earth is personified by a series of nudes. They were modeled by Lupe Marin, the tempestuous, olive-skinned beauty who was his second wife...
Trouble at the Crossroads. Rivera's murals heavily influenced the WPA muralists who spread their work across the walls of U.S. post offices in the 1930s. About the same time, his own became increasingly complicated. He started spelling things out-caricaturing his personal and political enemies, deifying his heroes -and his paintings lost their poetic savor. But if his art was no longer so lyrical, Rivera's mural in Mexico City's old National Palace still made powerful prose. So did the clamorous panels he painted in the Detroit Institute of Arts to celebrate the machine...