Painting on the left : Diego Rivera, radical politics, and San Francisco's public murals
著者
書誌事項
Painting on the left : Diego Rivera, radical politics, and San Francisco's public murals
University of California Press, c1999
- : pbk
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注記
Includes bibliographical references (p. 225-254) and index
内容説明・目次
- 巻冊次
-
ISBN 9780520211339
内容説明
The boldly political mural projects of Diego Rivera and other leftist artists in San Francisco during the 1930s and early 1940s are the focus of this text. Led by Rivera, these painters used murals as a vehicle to reject the economic and political status quo and to give visible form to labour and radical ideologies, including Communism. Several murals, and details of others, are reproduced here. Of special interest are works by Rivera that chart a progress from mural paintings commissioned for private spaces to those produced as a public act in a public space: "Allegory of California", painted in 1930-31 at the Stock Exchange Lunch Club; "Making a Fresco, Showing the Building of a City", done a few months later at the California School of Fine Arts; and "Pan American Unity", painted in 1940 for the Golden Gate International Exposition. The text relates the development of wall painting in San Francisco's international expositions of 1915 and 1939, the new museums and art schools, corporate patronage, and the concerns of immigrants and ethnic groups.
And he examines how mural painters struggled against those forces that threatened their practice: the growing acceptance of modernist easel painting, the vagaries of New Deal Patronage, and a wartime nationalism hostile to radical politics.
- 巻冊次
-
: pbk ISBN 9780520219779
内容説明
The boldly political mural projects of Diego Rivera and other leftist artists in San Francisco during the 1930s and early 1940s are the focus of Anthony W. Lee's fascinating book. Led by Rivera, these painters used murals as a vehicle to reject the economic and political status quo and to give visible form to labor and radical ideologies, including Communism. Several murals, and details of others, are reproduced here for the first time. Of special interest are works by Rivera that chart a progress from mural paintings commissioned for private spaces to those produced as a public act in a public space: Allegory of California, painted in 1930-31 at the Stock Exchange Lunch Club; Making a Fresco, Showing the Building of a City, done a few months later at the California School of Fine Arts; and Pan American Unity, painted in 1940 for the Golden Gate International Exposition.
Labor itself became a focus of the new murals: Rivera painted a massive representation of a construction worker just as San Francisco's workers were themselves organizing; Victor Arnautoff, Bernard Zakheim, John Langley Howard , and Clifford Wight painted panels in Coit Tower that acknowledged the resolve of the dockworkers striking on the streets below. Radical in technique as well, these muralists used new compositional strategies of congestion, misdirection, and fragmentation, subverting the legible narratives and coherent allegories of traditional murals. Lee relates the development of wall painting to San Francisco's international expositions of 1915 and 1939, the new museums and art schools, corporate patronage, and the concerns of immigrants and ethnic groups. And he examines how mural painters struggled against those forces that threatened their practice: the growing acceptance of modernist easel painting, the vagaries of New Deal patronage, and a wartime nationalism hostile to radical politics.
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