Loading presentation...

Present Remotely

Send the link below via email or IM


Present to your audience

Start remote presentation

  • Invited audience members will follow you as you navigate and present
  • People invited to a presentation do not need a Prezi account
  • This link expires 10 minutes after you close the presentation
  • A maximum of 30 users can follow your presentation
  • Learn more about this feature in our knowledge base article

Do you really want to delete this prezi?

Neither you, nor the coeditors you shared it with will be able to recover it again.


Dream of a sunday afternoon in the alameda central park

No description

Marija Stilinovich

on 9 November 2015

Comments (0)

Please log in to add your comment.

Report abuse

Transcript of Dream of a sunday afternoon in the alameda central park

Diego Rivera
Artistic Style
Rivera used 2 major artistic styles while creating art. The 2 major styles had to do with his location at that time.

Paris: Cubism
Rivera was strongly influenced by Picasso's cubist period while living in Paris. He created "Adoration of the Virgin." In 1913 and 1914 Rivera exhibited his Cubism-inspired work, and he met Picasso and Juan Gris in the Societe des Artistes Independents.

Early Life
Dream of a Sunday afternoon in the alameda central park
Marija And olivia

Themes in Dream of a Sunday Afternoon in the Alameda Park
Themes Common in Paintings
How Diego Rivera Shaped the Revolution
How the Revolution Shaped Diego Rivera
Dream of a Sunday Afternoon in the Alameda Central Park
Significant Symbols
Works Cited
Dream of a Sunday Afternoon in the Alameda Central Park
- Diego Rivera was born in Guanajuato City, Guanajuato, to a well-off family.

- Rivera claimed to be descended from Jews who converted to Roman Catholicism on his mother's side, and from Spanish nobility on his father's side.

- Since the age of ten, Rivera studied art at the Academy of San Carlos in Mexico City.
- From Picasso and Cezanne to Da Vinci, and from the Aztecs to politics, and then to Kahlo, the artist’s influences were combined to create murals depicting the struggle of the Mexican people.

- Diego Rivera studied in Paris, and much of his early work was done in the style popularized by Ilya Ehrenburg, Chaim Soutine, Max Jacob, and Amadeo Modigliani from 1907-1914
- "I don't believe in God but I do believe in Picasso."

-“Every good composition is above all a work of abstraction. All good painters know this. But the painter cannot dispense with subjects altogether without his work suffering impoverishment. ”
- “I am an atheist and I consider religions to be a form of collective neurosis. I am not an enemy of the Catholics, as I am not an enemy of the tuberculars, the myopic or the paralytics; you cannot be an enemy of the sick, only their good friend in order to help them cure themselves.”
- Mexican culture and history constituted the major themes and influence on Rivera's art.

- Rivera amassed an enormous collection of pre-Columbian artifacts and used them through out his paintings and artworks both as inspiration and also as found materials.

- The majority of Rivera's work revolved around Mexican society and the everyday life of the citizens.
Americas: Muralism
Diego Rivera returned to Mexico in 1921 where he was commissioned by the President of Mexico, Jose Vasconcelos, to start painting murals around Mexico on government buildings. Rivera painted murals like "The Great City of Tenochtitlan" which romanticized Mexican history and were meant to educate the population.

The main technique that Diego Rivera used in his murals was the fresco technique. This made the murals last longer and truly become a part of Mexican culture.
Fresco Painting:
"Fresco is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall."

- Rivera represents theme of Mexican history in this crowded, dynamic composition, replete with meaningful portraits, historical figures, and symbolic elements.

- Rivera represents himself at the center as a child holding hands with the most celebrated of Guadalupe Posada's creations: the skeletal figure popularly known as "Calavera Catrina."

- He is shown to be protected by his wife, the painter Frida Kahlo, who holds in her hand the yin-yang symbol, the Eastern equivalent of Aztec duality.

"Rivera, who... was to transform the history of Mexico into one of the great myths of our century, could not, in recalling his own life to me, suppress his colossal fancy. He had already converted certain events, particularly of his early years, into legends.“
- Rivera's work has been characterized as politically motivated, stylistically retrograde, and historically isolated. - - Mexican scholars have traditionally emphasized the strong revolutionary ideals and content of Rivera's murals in Mexico.
- In Mexico Rivera's work is "synonymous with institutionalized ideals of the Mexican Revolution, which promoted indigenous culture to the exclusion of foreign influence."
- Rivera's statements support his view of his art as a unique and indigenous effort in holding up the ideals of the revolution.

- A member of the Mexican Communist party, Rivera begin to attack capitalism.

- His murals were originally censored in both the United States and Mexico, however he continued making murals depicting the revolution from the viewpoint of the Mexican people, artwork that has come to define him.

- Murals such as these united the impoverished Mexican people, celebrating the trials they underwent.
The mural combines the artist's own childhood experiences with the historical events and sites that took place in Mexico City's Alameda Park
- The crematorium for the victims of the Inquisition during the times of Cortes,
- The U.S. army's encampment in the park in 1848,
- The major political demonstrations of the nineteenth century.
- Many prominent past and present (at that time) political figures
- Everyday citizens and their daily lives during the Mexican Revolution
- The mural is divided into 3 panels. The first of which represents the Spanish conquest. The second panel is of Rivera's Contemporaries. The third depicts the stuggle of the workers as well as the future.

Bio. Diego Rivera Art. Bio.com, 3 Aug. 2014. Web. 8 Nov. 2015.

Khan, Sal. "Khan Academy." Khan Academy. Khanacademy.com, 5 May 2011. Web. 08 Nov. 2015.

Masters, American. "About the Artist." PBS. PBS, 26 Aug. 2006. Web. 08 Nov. 2015.
Rivera, Diego. Dream of a Sunday Afternoon in the

Alameda Central Park. 1946. Museo Mural Diego Rivera, Mexico City.
Full transcript