Quiz10 minutes

Please put away all information and take out a pen and paper. Write your name, Art 111,

and today’s date on the paper.

Identify: artist’s full name, artist’s nationality, title of work, medium, movement.Write as much as you can about the work’s art historical significance. Include as many

facts as possible, such as other works by this artist, other artists associated with this movement, titles and authors of related readings.

• Tarsila do Amaral, Abaporu, oil, 1928, 33/29” gift to husband Oswald de Andrade who named it “man who eats” in the Tupi-Guarani Indian language.

• It inspired Andrade’s “Anthropophagite manifesto,” cannibalism as the metaphor for Brazil’s assimilation of European culture

• Influence of School of Paris modern art

The Mexican Mural Movement

Los tres grandes: Diego Rivera,

David Siquieros, José Orozco

Mexican Revolution 1910-1920

Pancho Villa (1877-1923) Emiliano Zapata (1887-1919)

Soldiers

Jose Vasconcelos

Diego Rivera,(Mexican 1886-1957) The Architect, 1914Compare Pablo Picasso, Three Musicians, 1921

“Analytic Cubism”

Diego Rivera, Woman at the Well, 1913

Diego Rivera, Zapatista Landscape – The Guerilla, 1915

Rivera, Creation, 1922-23, encaustic (used blow torch) & gold leaf,National Preparatory School, Mexico City.

Courtyard of the Ministry of Education, Mexico City

Rivera at the Education Ministry with oneof his murals, 1924

Rivera, Wall Street Banquet and Night of the Rich, frescos,Ministry of Education, Mexico City, 1927-8

Rivera, Liberation of the Peon, 1931, fresco on board, Philadelphia MA

Rivera, (left) with Frida Kahlo, 1930The Protest 1928, fresco, detail, west wall courtyardMexico City Ministry of Education

Compare Rivera, Protest, fresco, Mexico City, 1923 and Giotto, Mourning of Christ, c. 1305, fresco, Cappella dell'Arena, Padua

"Giotto was a propagandist of the spirit of Christianity, the weapon of the Franciscan monks of his time against feudal oppression, Bruegel [Flemish Northern Renaissance Painter, C.1525-1569] was a propagandist of the struggle of the Dutch artisan petty bourgeoisie against feudal oppression. Every artist who has been worth anything has been a propagandist. . . I want to be a propagandist of Communism and I want to be it in all that I can think, in all that I can speak, in all that I can write, and in all that I can paint. I want to use my art as a weapon. . ."

The Revolutionary Spirit in Modern Art, Diego Rivera, 1932

Rivera, May Day Moscow, 1928, watercolor

Rivera, May Day Moscow, 1928, watercolor

Rivera, The History of Cuernavaca and Morelos, fresco, 1929-30, Cortez Palace, Cuernavaca, Mexico

Rivera, The History of Cuernavaca and Morelos, fresco, detail, 1929-30, Cortez Palace, Cuernavaca, Mexico

Rivera, Detroit Industry, fresco, 1933, Detroit Institute of Arts, north wall

Detroit Industry south wall

Rivera, Man at the Crossroads, central section, fresco, 1934 – Palace of Fine Arts, Mexico City

Rivera, The Making of a Fresco Showing the Building of a City, 1931, San FranciscoArt Institute

Rivera, Pan-American Unity: The Marriage of the Artistic Expression of the North and South of this Continent, City College of San Francisco, 1940

SF City College fresco detail

David Alfaro Siqueiros (Mexican, 1896-1974) at work on Tropical America, Oliveras Street, Los Angeles, 1932, fresco applied with air gun on cement, 19.7 ft x 98.4 ft

Siqueiros, Tropical America, dedicated October 9, 1932 and whitewashed less than a year later. Forgotten for years and rediscovered in the late 1960s when the whitewash began to peel off. First outdoor mural and prototype for muralism of the 1960s.

David Alfaro Siquieros, Zapata, 1966, pyroxylin on masonite, Mexico City compared with Rivera, Agrarian Leader, Zapata, fresco, 7’9” x 6’2” NYC MoMA

Siqueiros, Revolutionary on a Horse, 1957 Fresco, Museo Nacional de Historia, Mexico City

Siqueiros, Don Porfirio & His Courtesans, 1957, fresco, Museo Nacional de Historia, Mexico City (INAH)

Siqueiros, Echo of a Scream, 1937, enamel on wood, 48/36” NYC MoMA

Siqueiros, Ethnography, 1939, enamel on composition board, 122 /82 cm. NYC MoMA

Jose Clemente Orozco (Mexican, 1883-1949) The Trench, 1926-7 fresco, National Prep. School, Mexico City

Jose Clemente Orozco, The Franciscan, 1930, lithograph, NYC MoMA

Jose Clemente Orozco, Zapatistas, 1931, 45/55” o/c, NYC MoMA

Jose Clemente Orozco, Prometheus, 1930, tempera on masonite 61 cm,

Museo de Arte Moderno, Mexico City. A version of the mural painted the same

year for Pomona College, California

Orozco, Prometheus mural, Pomona College, 1930

Orozco, two panels from Dartmouth College fresco, (left) Ancient Human Sacrifice and (right) Gods of the Modern World, 1932

Orozco, Hispanoamerica & Angloamerica, panels of American Civilization fresco, 1932-4, Dartmouth College, New Hampshire

Orozco, The Expulsion of Quetzalcoatl (detail), American Civilization

Fresco, Dartmouth College Baker Library, New Hampshire 1932-4