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diversions
Diego
Rivera’s murals make huge presence
By Tanya Dellaca
Summer On-line Forty-Niner
He is said to have
called himself a cannibal, a homosexual and a communist leader,
lecturer Gregorio Luke said. He has been described as a boy
genius, drawing complete portraits with no training at age
10 and being accepted to art school by age 12.
For artist Diego Rivera, the boundaries between imagination
and reality often merge in his artwork, exhibited at an outdoor
lecture and multimedia presentation Saturday July 27, at the
Museum of Latin American Art.
“With Diego it is difficult to tell what is myth,” MoLAA Director
and lecturer Gregorio Luke said. “And that [is reflected]
in the work he creates.”
The murals of Diego Rivera, the second in the three-part Murals
Under the Stars series, were presented to about 700 MoLAA
guests and members just after sunset. Rows of chairs filled
the parking lot facing the 2,000 square-foot wall where the
murals were projected.
“You don’t understand the artistry and the perspective without
the size,” Susan Golden, of MoLAA public relations said. “You
don’t get the impact.”
The audience agreed that the mural’s size was certainly awe-inspiring.
“It was very educational,” guest Laura Yarbrough said. “The
size and detail of his work is just amazing, I never knew
Diego Rivera was such an interesting person.”
The original concept for the large-scale presentation was
Luke’s idea, Golden said.
It began using interlocking slides and old-fashioned slide
projectors. Now in its second year the murals are scanned
on to discs, which are used with laptops and projectors on
loan from Epson, Golden said.
During the lecture, Luke traced the history of Diego Rivera
through the development of his artistic style and how Rivera’s
experiences lead to his involvement with the muralist’s movement.
“Cubism, humanism, the futurists, the Mexican Revolution and
the modern art revolution influenced Rivera’s style,” Luke
said.
Murals displayed included “Pan-American Unity,” consisting
of five panels, the completed version of “Man at the Crossroads,”
a four-panel mural that was originally commissioned by the
Rockefellers but later censored and destroyed for containing
an image of Lenin, which Rivera refused to remove.
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