Word: riveras
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Dates: during 1940-1949
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...make a new start, Rivera went to Italy, studied the murals of Giotto, Uccello and Andrea del Castagno...
Communist friends objected. A self-proclaimed revolutionary like Diego, they argued, should also be up to date in his art. By returning to the representational clarity and the simple story-telling art of the Renaissance, Rivera had proved himself hopelessly bourgeois...
...Rivera boomed his scorn of such views. He insisted he knew, better than they did, what "the workers" would look...
Nowadays, the only paintings in Rivera's studio besides his own are out-&-out abstractions by Russian Vassily Kandinsky and Switzerland's Paul Klee. "I like them," says Rivera, "because I have an educated nose. But I don't confuse myself and my friends and the art critics with the millions. I myself have always wanted to paint for the millions-and so I stick to my idea of a clear, firm, simple and precise art that everyone can understand...
Joyful Reverence. Full of the idea of painting "for the millions," Rivera hastened home from Paris in 1921 and joined forces with two other revolutionaries who were to make Mexican art history: Siqueiros and José Clemente Orozco. Together they formed a government-backed syndicate of artists, published a manifesto announcing their intention "to socialize artistic expression." To the syndicate that meant ditching easel painting and going to work on walls-wherever they could find a big, challenging bare...