Robert W. Cherny
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780252040788
- eISBN:
- 9780252099243
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040788.003.0005
- Subject:
- Art, Art History
When Arnautoff’’s student visa was expiring, Stackpole arranged an introduction to Diego Rivera, and Victor, Lydia, and their two sons spent 1929-1931 in Mexico. There Arnatuoff assisted Rivera at ...
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When Arnautoff’’s student visa was expiring, Stackpole arranged an introduction to Diego Rivera, and Victor, Lydia, and their two sons spent 1929-1931 in Mexico. There Arnatuoff assisted Rivera at the Cortés Palace in Cuernavaca and the National Palace in Mexico City and encountered both the PCM (Mexican Communist Party) and Rivera’s idiosyncratic version of communism. In 1930, Rivera went to San Francisco to paint murals there, leaving Arnautoff in charge at the National Palace. Ione Robinson’s letters provide information both about life in Mexico City and about Arnautoff. In 1931, the family returned to the US as permanent residents eligible for citizenship.Less
When Arnautoff’’s student visa was expiring, Stackpole arranged an introduction to Diego Rivera, and Victor, Lydia, and their two sons spent 1929-1931 in Mexico. There Arnatuoff assisted Rivera at the Cortés Palace in Cuernavaca and the National Palace in Mexico City and encountered both the PCM (Mexican Communist Party) and Rivera’s idiosyncratic version of communism. In 1930, Rivera went to San Francisco to paint murals there, leaving Arnautoff in charge at the National Palace. Ione Robinson’s letters provide information both about life in Mexico City and about Arnautoff. In 1931, the family returned to the US as permanent residents eligible for citizenship.
David S. Dalton
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781683400394
- eISBN:
- 9781683400523
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9781683400394.003.0003
- Subject:
- Society and Culture, Latin American Studies
This chapter analyzes the state-funded murals of Diego Rivera and José Clemente Orozco, two artists who served as de facto mouthpieces for the state as they trumpeted the postrevolutionary tenets of ...
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This chapter analyzes the state-funded murals of Diego Rivera and José Clemente Orozco, two artists who served as de facto mouthpieces for the state as they trumpeted the postrevolutionary tenets of official mestizaje through their work. Despite sharing the state’s seal of approval, the two men communicated contradictory racial discourses as they disagreed about the proper place of the nation’s European and indigenous heritage within the official ideology. That said, both men’s work was pro-mestizo despite the fact that they conceived mixed-race identity in very different ways. Orozco’s understanding of racial and technological hybridity tended toward hispanismo as he constantly validated the result—if not the means—of the Spanish conquest. Unlike Orozco, Rivera carefully separated European science—which he celebrated—from the cosmology that had permitted the destruction of thousands of indigenous lives. Instead, he posited an essentialistic indigenous spirit that would redeem mestizo Mexico from the conquering nature it had inherited from its European progenitors. This paternalistic understanding of indigeneity led to an indigenista discourse that became the favored paradigm of official mestizaje throughout the mid-twentieth century.Less
This chapter analyzes the state-funded murals of Diego Rivera and José Clemente Orozco, two artists who served as de facto mouthpieces for the state as they trumpeted the postrevolutionary tenets of official mestizaje through their work. Despite sharing the state’s seal of approval, the two men communicated contradictory racial discourses as they disagreed about the proper place of the nation’s European and indigenous heritage within the official ideology. That said, both men’s work was pro-mestizo despite the fact that they conceived mixed-race identity in very different ways. Orozco’s understanding of racial and technological hybridity tended toward hispanismo as he constantly validated the result—if not the means—of the Spanish conquest. Unlike Orozco, Rivera carefully separated European science—which he celebrated—from the cosmology that had permitted the destruction of thousands of indigenous lives. Instead, he posited an essentialistic indigenous spirit that would redeem mestizo Mexico from the conquering nature it had inherited from its European progenitors. This paternalistic understanding of indigeneity led to an indigenista discourse that became the favored paradigm of official mestizaje throughout the mid-twentieth century.
Carol A. Hess
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199919994
- eISBN:
- 9780199345618
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199919994.003.0003
- Subject:
- Music, Ethnomusicology, World Music, History, American
This chapter explores the explicitly Pan Americanist ballet H.P. (Horsepower), with a score by Chávez and sets and costumes by Diego Rivera. In depicting the technologically advanced North with ...
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This chapter explores the explicitly Pan Americanist ballet H.P. (Horsepower), with a score by Chávez and sets and costumes by Diego Rivera. In depicting the technologically advanced North with modernist machine music and the fertile South with salon-type, body-conscious Latin American dances, Chávez, at first blush, would seem to be enshrining north-south difference. Yet musical and visual elements of H.P. embrace sameness through a phenomenon the cultural historian Jeffrey Belnap calls “dialectical indigenism,” which proclaims the continued presence of indigenous culture in modern technology. Likewise the Chávez enthusiast Paul Rosenfeld masculinized the habitually feminized South in H.P. with his customary panegyrics. Ultimately, however, Chávez returned almost immediately to ur-classicism, resulting in the Sinfonía India, his best-known work. Considered “exotic-primitivistic” in the 1970s, the Sinfonía India inspired a series of sameness-embracing paeans from critics the stature of Colin McPhee and John Cage, all of whom found little to exoticize.Less
This chapter explores the explicitly Pan Americanist ballet H.P. (Horsepower), with a score by Chávez and sets and costumes by Diego Rivera. In depicting the technologically advanced North with modernist machine music and the fertile South with salon-type, body-conscious Latin American dances, Chávez, at first blush, would seem to be enshrining north-south difference. Yet musical and visual elements of H.P. embrace sameness through a phenomenon the cultural historian Jeffrey Belnap calls “dialectical indigenism,” which proclaims the continued presence of indigenous culture in modern technology. Likewise the Chávez enthusiast Paul Rosenfeld masculinized the habitually feminized South in H.P. with his customary panegyrics. Ultimately, however, Chávez returned almost immediately to ur-classicism, resulting in the Sinfonía India, his best-known work. Considered “exotic-primitivistic” in the 1970s, the Sinfonía India inspired a series of sameness-embracing paeans from critics the stature of Colin McPhee and John Cage, all of whom found little to exoticize.
Thomas F. Gieryn
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9780226561950
- eISBN:
- 9780226562001
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226562001.003.0004
- Subject:
- History, Cultural History
Tourists flock to Greenfield Village, Henry Ford's outdoor historical museum located just outside Detroit, and not far from the River Rouge assembly plant that ushered in the era of industrial mass ...
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Tourists flock to Greenfield Village, Henry Ford's outdoor historical museum located just outside Detroit, and not far from the River Rouge assembly plant that ushered in the era of industrial mass production. Just before the Great Depression, Ford moved or built the homes and workplaces of America's great inventors and entrepreneurs around a replica New England village green. However artificial it was to locate Ford's first factory adjacent to the Wright Brothers' bicycle shop from Dayton, Greenfield Village serves up a compelling representation of the roots of industrial capitalism in the small town life that Ford's assembly lines ironically did so much to erase. Coincidentally, Mexican socialist Diego Rivera painted "Detroit Industry," his masterful murals in the Garden Court at the Detroit Institute of Art. Tourists also flock to this very different truth-spot that depicts the prowess of machines and their capacity to ease the physical burdens of human labor, while only hinting at the possibility of a class struggle that would move society from capitalism to communism. Ford's Village and Rivera's murals rely on both authenticity and artifice to make visitors believe in very different understandings of the past and future of American industrial capitalism.Less
Tourists flock to Greenfield Village, Henry Ford's outdoor historical museum located just outside Detroit, and not far from the River Rouge assembly plant that ushered in the era of industrial mass production. Just before the Great Depression, Ford moved or built the homes and workplaces of America's great inventors and entrepreneurs around a replica New England village green. However artificial it was to locate Ford's first factory adjacent to the Wright Brothers' bicycle shop from Dayton, Greenfield Village serves up a compelling representation of the roots of industrial capitalism in the small town life that Ford's assembly lines ironically did so much to erase. Coincidentally, Mexican socialist Diego Rivera painted "Detroit Industry," his masterful murals in the Garden Court at the Detroit Institute of Art. Tourists also flock to this very different truth-spot that depicts the prowess of machines and their capacity to ease the physical burdens of human labor, while only hinting at the possibility of a class struggle that would move society from capitalism to communism. Ford's Village and Rivera's murals rely on both authenticity and artifice to make visitors believe in very different understandings of the past and future of American industrial capitalism.
John Franceschina
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199754298
- eISBN:
- 9780199949878
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199754298.003.0006
- Subject:
- Music, Dance, Popular
After Hermes Pan completed work on Betty Grable’s Sweet Rosie O’Grady he was invited by Cole Porter to choreograph Mexican Hayride on Broadway but refused, preferring to continue his career on the ...
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After Hermes Pan completed work on Betty Grable’s Sweet Rosie O’Grady he was invited by Cole Porter to choreograph Mexican Hayride on Broadway but refused, preferring to continue his career on the West Coast. Following the production of Pin Up Girl, however, Pan grew dissatisfied with Hollywood and entered the Abbey of Our Lady of Gethsemani with the view of becoming a monk. Realizing that monastic life was not to his taste, he returned to the West Coast only to be introduced to muralist Diego Rivera who invited Pan to Mexico and painted his portrait. Back at Fox Pan continues turning out musical films including Rodgers and Hammerstein’s State Fair before he is lent out to Paramount to choreograph Irving Berlin’s Blue Skies starring Fred Astaire and Bing Crosby and featuring “Puttin’ on the Ritz.” After the completion of That Lady in Ermine, Fox drops Pan’s option.Less
After Hermes Pan completed work on Betty Grable’s Sweet Rosie O’Grady he was invited by Cole Porter to choreograph Mexican Hayride on Broadway but refused, preferring to continue his career on the West Coast. Following the production of Pin Up Girl, however, Pan grew dissatisfied with Hollywood and entered the Abbey of Our Lady of Gethsemani with the view of becoming a monk. Realizing that monastic life was not to his taste, he returned to the West Coast only to be introduced to muralist Diego Rivera who invited Pan to Mexico and painted his portrait. Back at Fox Pan continues turning out musical films including Rodgers and Hammerstein’s State Fair before he is lent out to Paramount to choreograph Irving Berlin’s Blue Skies starring Fred Astaire and Bing Crosby and featuring “Puttin’ on the Ritz.” After the completion of That Lady in Ermine, Fox drops Pan’s option.
- Published in print:
- 2009
- Published Online:
- March 2013
- ISBN:
- 9780226734149
- eISBN:
- 9780226734163
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226734163.003.0003
- Subject:
- Society and Culture, Latin American Studies
This chapter explores links between the representation of women and the primitive (or the indigenous) in the “Sandunga” episode of Sergei Eisenstein's film ¡Que Viva Mexico!. It explains that this ...
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This chapter explores links between the representation of women and the primitive (or the indigenous) in the “Sandunga” episode of Sergei Eisenstein's film ¡Que Viva Mexico!. It explains that this episode reflects the dual function of woman as the figure for the essential and natural, but at the same time a force that is subversive to the masculine symbolic economy. The chapter also traces particular images of women in “Sandunga” to their representations in other artists' work, such as Tina Modotti's photography and Diego Rivera's murals.Less
This chapter explores links between the representation of women and the primitive (or the indigenous) in the “Sandunga” episode of Sergei Eisenstein's film ¡Que Viva Mexico!. It explains that this episode reflects the dual function of woman as the figure for the essential and natural, but at the same time a force that is subversive to the masculine symbolic economy. The chapter also traces particular images of women in “Sandunga” to their representations in other artists' work, such as Tina Modotti's photography and Diego Rivera's murals.
Sharon Ann Musher
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780226247182
- eISBN:
- 9780226247212
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226247212.003.0002
- Subject:
- History, Cultural History
This chapter examines the forces encouraging the New Deal’s cultural turn. In addition to economic considerations, cultural theories also played a key role in the New Deal’s art projects. Efforts to ...
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This chapter examines the forces encouraging the New Deal’s cultural turn. In addition to economic considerations, cultural theories also played a key role in the New Deal’s art projects. Efforts to democratize and nationalize American art combined with attempts to foster a usable past and preserve culture, to address the supposed problems caused by too much leisure time, and to highlight the comparative international weakness of US investment in the arts. Key events, such as the destruction of Diego Rivera’s mural at Rockefeller Center (1933) and the formation of the Popular Front (1935), further encouraged an array of leaders–within the President’s administration, the established art world, and rank-and-file artists and intellectuals—to demand and create government support for artists. Many of those art advocates idealistically, but unrealistically, hoped that such public funding would come without political strings.Less
This chapter examines the forces encouraging the New Deal’s cultural turn. In addition to economic considerations, cultural theories also played a key role in the New Deal’s art projects. Efforts to democratize and nationalize American art combined with attempts to foster a usable past and preserve culture, to address the supposed problems caused by too much leisure time, and to highlight the comparative international weakness of US investment in the arts. Key events, such as the destruction of Diego Rivera’s mural at Rockefeller Center (1933) and the formation of the Popular Front (1935), further encouraged an array of leaders–within the President’s administration, the established art world, and rank-and-file artists and intellectuals—to demand and create government support for artists. Many of those art advocates idealistically, but unrealistically, hoped that such public funding would come without political strings.
Robert W. Cherny
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780252040788
- eISBN:
- 9780252099243
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040788.001.0001
- Subject:
- Art, Art History
Victor Arnautoff, an artist, was born in 1896 in the Russian empire. After serving as a cavalry officer in WWI and then in the White Siberian army during the Russian Civil War, he became part of the ...
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Victor Arnautoff, an artist, was born in 1896 in the Russian empire. After serving as a cavalry officer in WWI and then in the White Siberian army during the Russian Civil War, he became part of the Russian diaspora, working for a Chinese warlord, studying art in San Francisco, and working with Diego Rivera in Mexico. Returning to San Francisco, his art was acclaimed during the 1930s, especially his public murals, most financed by New-Deal art programs. He joined Stanford University’s art faculty. He and his wife became citizens and secretly joined the Communist party (CP). They threw themselves into work for Russian war relief during WWII and became active in Communist front groups. After WWII, the rise of abstract expressionism marginalized Arnautoff’s social realism, and he found a new cultural home in the California Labor School. Arnautoff’s activities in Communist front groups brought FBI surveillance. He was called before a HUAC sub-committee, and the Stanford administration tried unsuccessfully to terminate him in a case involving standards of academic freedom. After retiring from Stanford and the death of his wife, Arnautoff emigrated to the Soviet Union. There he created several large public murals before his death in 1979.Less
Victor Arnautoff, an artist, was born in 1896 in the Russian empire. After serving as a cavalry officer in WWI and then in the White Siberian army during the Russian Civil War, he became part of the Russian diaspora, working for a Chinese warlord, studying art in San Francisco, and working with Diego Rivera in Mexico. Returning to San Francisco, his art was acclaimed during the 1930s, especially his public murals, most financed by New-Deal art programs. He joined Stanford University’s art faculty. He and his wife became citizens and secretly joined the Communist party (CP). They threw themselves into work for Russian war relief during WWII and became active in Communist front groups. After WWII, the rise of abstract expressionism marginalized Arnautoff’s social realism, and he found a new cultural home in the California Labor School. Arnautoff’s activities in Communist front groups brought FBI surveillance. He was called before a HUAC sub-committee, and the Stanford administration tried unsuccessfully to terminate him in a case involving standards of academic freedom. After retiring from Stanford and the death of his wife, Arnautoff emigrated to the Soviet Union. There he created several large public murals before his death in 1979.
Stephanie J. Smith
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9781469635682
- eISBN:
- 9781469635699
- Item type:
- book
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469635682.001.0001
- Subject:
- History, Latin American History
Stephanie J. Smith brings Mexican politics and art together, chronicling the turbulent relations between radical artists and the postrevolutionary Mexican state. The revolution opened space for new ...
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Stephanie J. Smith brings Mexican politics and art together, chronicling the turbulent relations between radical artists and the postrevolutionary Mexican state. The revolution opened space for new political ideas, but by the late 1920s many government officials argued that consolidating the nation required coercive measures toward dissenters. While artists and intellectuals, some of them professed Communists, sought free expression in matters both artistic and political, Smith reveals how they simultaneously learned the fine art of negotiation with the increasingly authoritarian government in order to secure clout and financial patronage. But the government, Smith shows, also had reason to accommodate artists, and a surprising and volatile interdependence grew between the artists and the politicians.
Involving well-known artists such as Frida Kahlo, Diego Rivera, and David Alfaro Siqueiros, as well as some less well known, including Tina Modotti, Leopoldo Méndez, and Aurora Reyes, politicians began to appropriate the artists’ nationalistic visual images as weapons in a national propaganda war. High-stakes negotiating and co-opting took place between the two camps as they sparred over the production of generally accepted notions and representations of the revolution’s legacy—and what it meant to be authentically Mexican.Less
Stephanie J. Smith brings Mexican politics and art together, chronicling the turbulent relations between radical artists and the postrevolutionary Mexican state. The revolution opened space for new political ideas, but by the late 1920s many government officials argued that consolidating the nation required coercive measures toward dissenters. While artists and intellectuals, some of them professed Communists, sought free expression in matters both artistic and political, Smith reveals how they simultaneously learned the fine art of negotiation with the increasingly authoritarian government in order to secure clout and financial patronage. But the government, Smith shows, also had reason to accommodate artists, and a surprising and volatile interdependence grew between the artists and the politicians.
Involving well-known artists such as Frida Kahlo, Diego Rivera, and David Alfaro Siqueiros, as well as some less well known, including Tina Modotti, Leopoldo Méndez, and Aurora Reyes, politicians began to appropriate the artists’ nationalistic visual images as weapons in a national propaganda war. High-stakes negotiating and co-opting took place between the two camps as they sparred over the production of generally accepted notions and representations of the revolution’s legacy—and what it meant to be authentically Mexican.
Peter J. Hollida
- Published in print:
- 2016
- Published Online:
- June 2016
- ISBN:
- 9780190256517
- eISBN:
- 9780190256548
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190256517.003.0011
- Subject:
- Classical Studies, History of Art: pre-history, BCE to 500CE, ancient and classical, Byzantine
America’s Pacific coast promised self-fulfillment not only through moral and spiritual regeneration but exuberant physical health as well. This chapter considers how the Southland’s sunny climate, ...
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America’s Pacific coast promised self-fulfillment not only through moral and spiritual regeneration but exuberant physical health as well. This chapter considers how the Southland’s sunny climate, first promoted by the region’s boosters, actually encouraged settlers to lead their lives differently. The body became the focus of an often literal self-fashioning, through fitness masters like Jack LaLanne or cosmetics pioneer Max Factor. Self-consciously emulating ancient Greeks and Romans, Southern Californians initiated trends that would change the way Americans eat, dress, and spend their leisure time. Californians even fashioned their bodies according to classical ideals. Visual artists—Diego Rivera, David Hockney, Cronk, David Ligare, Herb Ritts, Robert Graham—were sensitive to this new conception of beauty, and represented it in various media throughout the twentieth century.Less
America’s Pacific coast promised self-fulfillment not only through moral and spiritual regeneration but exuberant physical health as well. This chapter considers how the Southland’s sunny climate, first promoted by the region’s boosters, actually encouraged settlers to lead their lives differently. The body became the focus of an often literal self-fashioning, through fitness masters like Jack LaLanne or cosmetics pioneer Max Factor. Self-consciously emulating ancient Greeks and Romans, Southern Californians initiated trends that would change the way Americans eat, dress, and spend their leisure time. Californians even fashioned their bodies according to classical ideals. Visual artists—Diego Rivera, David Hockney, Cronk, David Ligare, Herb Ritts, Robert Graham—were sensitive to this new conception of beauty, and represented it in various media throughout the twentieth century.
Ilana Löwy
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780226534121
- eISBN:
- 9780226534268
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226534268.003.0009
- Subject:
- History, History of Science, Technology, and Medicine
This short chapter argues that a ‘positive’ prenatal diagnosis - that is, the diagnosis of a serious anomaly of the fetus - is always the announcement of a forthcoming loss: loss of a pregnancy or ...
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This short chapter argues that a ‘positive’ prenatal diagnosis - that is, the diagnosis of a serious anomaly of the fetus - is always the announcement of a forthcoming loss: loss of a pregnancy or loss of the hope of birth of a healthy child. Academic research has a limited capacity for dealing with emotionally charged issues. Art provides very different means to reflect on such issues. The coda juxtaposes two art works which deal with pregnancy loss, reproductive ambivalence and the liminal status of the fetus: a 2010 collection of short stories Obsoletki by a Polish poet, Justyna Bragielska, and the 1932 painting, 'Henry Ford Hospital', by the Mexican artist Frida Kahlo. Very dissimilar in intention and execution, both art works combine raw sentiment, empathy and irony, and both firmly place failed pregnancies within the fragile, glorious, messy, tragic, banal, ambivalent, risky, and hopeful stream of life.Less
This short chapter argues that a ‘positive’ prenatal diagnosis - that is, the diagnosis of a serious anomaly of the fetus - is always the announcement of a forthcoming loss: loss of a pregnancy or loss of the hope of birth of a healthy child. Academic research has a limited capacity for dealing with emotionally charged issues. Art provides very different means to reflect on such issues. The coda juxtaposes two art works which deal with pregnancy loss, reproductive ambivalence and the liminal status of the fetus: a 2010 collection of short stories Obsoletki by a Polish poet, Justyna Bragielska, and the 1932 painting, 'Henry Ford Hospital', by the Mexican artist Frida Kahlo. Very dissimilar in intention and execution, both art works combine raw sentiment, empathy and irony, and both firmly place failed pregnancies within the fragile, glorious, messy, tragic, banal, ambivalent, risky, and hopeful stream of life.
Toba Singer
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780813044026
- eISBN:
- 9780813046259
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813044026.003.0013
- Subject:
- Music, Dance
Touring takes company to Miami and Puerto Rico. Government withholds funding, another Hurok offer rejected. Alberto is choreographing new works, Fernando authors proposal for Latin American ballet ...
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Touring takes company to Miami and Puerto Rico. Government withholds funding, another Hurok offer rejected. Alberto is choreographing new works, Fernando authors proposal for Latin American ballet company to 1953 Continental Culture Congress in Chile which is presented by Nicolás Guillén. U.S. embassy withdraws Fernando’s work visa.Less
Touring takes company to Miami and Puerto Rico. Government withholds funding, another Hurok offer rejected. Alberto is choreographing new works, Fernando authors proposal for Latin American ballet company to 1953 Continental Culture Congress in Chile which is presented by Nicolás Guillén. U.S. embassy withdraws Fernando’s work visa.
