Aiding in the promulgation of the Mexican Mural Renaissance, Diego Rivera paintings are mainly big wall works done in fresco. Aside from being a world famous Mexican painter, Diego Rivera is also known for being an active communist and a husband to Frida Kahlo.
Diego Rivera paintings initially embraced cubism. They shifted towards Post-Impressionism with simple forms and large patches of vivid colors, inspired by the paintings of Paul Cezanne. They began to attract attention and displayed at several exhibitions.
Creation was the first significant mural among the Diego Rivera paintings. It was done in 1922 and painted in encaustic in an experimental manner. The following Diego Rivera murals were done only in fresco. They dealt with Mexican society while reflecting the 1910 Mexican revolution.
There was a development of a native style in the Diego Rivera paintings, starting in September, 1922. The basis of this style was large, simplified figures and colors, with a tinge of an Aztec influence.
Story telling is a feature of Diego Rivera paintings. A perfect example of this feature in Diego's mural entitled In The Arsenal. In this mural, Tina Modotti is shown holding an ammunition belt while facing Julio Antonio Mella, wearing a light hat and standing in front of Vittorio Vidale, wearing a black hat. The painting was considered by some spectators as evidence that Diego had prior knowledge of Vidale's murdering Mella.
Between 1932 and 1933, the Diego Rivera paintings consisted of a series of 27 fresco panels entitled Detroit Industry. His mural, Man at the Crossroads, in 1933, contained a portrait of Vladimir Lenin. He repainted it in 1934 and retitled it as Man, Controller of the Universe.
Forming the bridge between 19th century Impressionism and early 20th century Cubism were the Cezanne paintings. They laid the foundations for the transition from the creation of artistic endeavour in the 19th century to a new and glaringly different art work in the 20th century.
A French artist and Post-Impressionist painter, Paul Cezanne was also known as the Father of Modern Art. This title was given to Paul after his Cezanne paintings featured repetitive, sensitive and exploratory brushstrokes, demonstrating design, color, composition and draftsmanship mastery. These brushstrokes proved to be highly characteristic of and clearly attributable only to Paul Cezanne.
Cezanne paintings used planes of color and small brushstrokes, building up to form complex fields. They are direct expressions of the sensations of the observing eye and abstractions from observed nature. They convey the intense study of subjects by Paul, his searching gaze and dogged struggle to deal with the complexity of human visual perception.
Cezanne paintings strove to develop an ideal synthesis of naturalistic representation, personal expression and abstract pictorial order. The early Cezanne paintings were painted in dark tones applied with heavy, fluid pigment. They suggested the moody and romantic expressionism of previous generations.
Gradually, Cezanne paintings transfigured into a commitment to contemporary life representation. Without concern for thematic idealization and stylistic affection, they presented the world on the basis of Paul's own observation of it.
Diego Rivera paintings initially embraced cubism. They shifted towards Post-Impressionism with simple forms and large patches of vivid colors, inspired by the paintings of Paul Cezanne. They began to attract attention and displayed at several exhibitions.
Creation was the first significant mural among the Diego Rivera paintings. It was done in 1922 and painted in encaustic in an experimental manner. The following Diego Rivera murals were done only in fresco. They dealt with Mexican society while reflecting the 1910 Mexican revolution.
There was a development of a native style in the Diego Rivera paintings, starting in September, 1922. The basis of this style was large, simplified figures and colors, with a tinge of an Aztec influence.
Story telling is a feature of Diego Rivera paintings. A perfect example of this feature in Diego's mural entitled In The Arsenal. In this mural, Tina Modotti is shown holding an ammunition belt while facing Julio Antonio Mella, wearing a light hat and standing in front of Vittorio Vidale, wearing a black hat. The painting was considered by some spectators as evidence that Diego had prior knowledge of Vidale's murdering Mella.
Between 1932 and 1933, the Diego Rivera paintings consisted of a series of 27 fresco panels entitled Detroit Industry. His mural, Man at the Crossroads, in 1933, contained a portrait of Vladimir Lenin. He repainted it in 1934 and retitled it as Man, Controller of the Universe.
Forming the bridge between 19th century Impressionism and early 20th century Cubism were the Cezanne paintings. They laid the foundations for the transition from the creation of artistic endeavour in the 19th century to a new and glaringly different art work in the 20th century.
A French artist and Post-Impressionist painter, Paul Cezanne was also known as the Father of Modern Art. This title was given to Paul after his Cezanne paintings featured repetitive, sensitive and exploratory brushstrokes, demonstrating design, color, composition and draftsmanship mastery. These brushstrokes proved to be highly characteristic of and clearly attributable only to Paul Cezanne.
Cezanne paintings used planes of color and small brushstrokes, building up to form complex fields. They are direct expressions of the sensations of the observing eye and abstractions from observed nature. They convey the intense study of subjects by Paul, his searching gaze and dogged struggle to deal with the complexity of human visual perception.
Cezanne paintings strove to develop an ideal synthesis of naturalistic representation, personal expression and abstract pictorial order. The early Cezanne paintings were painted in dark tones applied with heavy, fluid pigment. They suggested the moody and romantic expressionism of previous generations.
Gradually, Cezanne paintings transfigured into a commitment to contemporary life representation. Without concern for thematic idealization and stylistic affection, they presented the world on the basis of Paul's own observation of it.
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