Mexican Muralists: Orozco, Rivera, Siqueiros Review

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(More customer reviews)Read the editorial reviews first and if you are still not convinced that this book does a good job covering the Big Three than get individual books on each. The text is outstanding and puts the works of art into a political context of the time period. The author is analytical, insightful and definitely well versed in the subject matter.There is an exhaustive bibliography, extensive endnotes on each chapter and spectacular reproductions on thick quality paper stock. There are historical photographs of public works in progress and a varity of camera angles of individual murals to show the enormity of the works. I have seen many of these murals on location and this book does an excellent job of portraying them as they are. When you see a Rivera fresco on a wall at the National Palace live or in this case from a pulled out camera angle and see the railing leading to the next floor being dwarfed by the images it is truly impressive. Looking at the details within the murals is the ultimate visual experience where you can get lost in the picture and the meaning. The closeups and details of individual segments are superior. This is art for the peoples public viewing brought directly to you from Mexico to hold in your hands and examine at your leisure. There are several good books out there on Mexican Murals but this one for the money is outstanding. The three artists each had a distictive style but each brought a unifying nationalistic approach to the walls of public buildings. Is one artist better than the other? You be the judge, everyone has their own favorite. If you are unfamiliar with the works of the Big Three than check it out, you are in for a treat.

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Painting on the Left: Diego Rivera, Radical Politics, and San Francisco's Public Murals (Ahmanson-Murphy Fine Arts Book) Review

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(More customer reviews)(From Planeta Journal) - For visitors to Mexico City, obligatory visits include the National Palace, Bellas Artes and the Supreme Court -- all places where one can see the work of famed muralist Diego Rivera. His work is found elsewhere, and notably San Francisco, California, where the artist inspired and infuriated a generation of painters. Painting on the Left goes beyond the work of Rivera and illuminates how public art was perceived at the beginning of the 20th century. The descriptions of the bland murals decorating the 1915 Panama Pacific International Exposition are priceless and likewise the authors interpretation of how artists began to depict social issues in their work. The lively narrative text is complemented with color photos and sketches. Excellent!

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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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