Word: riverae
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With the death of Diego Rivera in Mexico City last week at 70, the Western Hemisphere lost its most commanding painter and one of its thorniest personalities. A huge, suave, slow-moving, spherical creature with great sophistication and prodigious energy, he made a practice of overwhelming women-and all opponents but the last. The rich enjoyed him as a comradely collector and bon vivant (he left a million-dollar estate plus a collection of pre-Columbian Indian art worth as much again). Beggars revered him as a man who courteously pressed folding money into their outstretched hands. Communist leaders kept...
...virtues, vices, boasts, buffooneries, lies and loves, Rivera was always flamboyant and noisy. Often he seemed only a big boy, but that was deceptive. And for the thousands of fellow Mexicans who referred to him affectionately as Diego, there were more thousands who called him Maestro. The second group honored Rivera's art-uneven, grandiose, and yet perhaps the most impressive body of painting ever produced by one man in the New World...
...rich Mexican revolutionary, Rivera liked to deny his aristocratic beginnings and Spanish blood. "I am one-third Indian, one-third Jew and one-third nobody knows-probably Chinese," he liked to say, with a fine disregard of the arithmetic of genealogy. As a student he worked in Paris along the lines suggested by his friends Picasso and Braque...
...career after studying at Columbia and Yale. Married to a Washington, D.C. businessman, Marcia fell in love with Mexico on a vacation trip, persuaded her husband to go into business there as a mining engineer. She soon managed to become a friend of such conflicting personalities as Diego Rivera, Rufino Tamayo, David Siqueiros. Her splashy, arresting style is strong on color and well suited to her subject matter, e.g., a moody painting of Chapultepec Park's beer garden at closing time. Marx will show her works in Dallas and Houston in the spring, have her second baby in June...
...ranging lone wolf of Mexican art, Painter Rufino Tamayo, his country's greatest modernist, has never hesitated to deliver outspoken blasts at Marxism. In Mexico's Red-dominated art world, this earned him some formidable foes; chief among them, naturalistic Muralist Diego Rivera. Just as they, clashed over politics, Communist Rivera and Tamayo, who wears no political label, disagreed about art: Tamayo shied away from Rivera's hard-lined propagandist works, and Rivera had no love for Tamayo's warm-toned semiabstractions. For 20 years the two artists have exchanged few kind words. Last week Tamayo...