Diego Rivera (Spanish pronunciation:[ˈdjeɣoriˈβeɾa]; December 8, 1886 – November 24, 1957) was a prominent Mexican painter. His large frescoes helped establish the mural movement in Mexican and international art.
Rivera had four wives and numerous children, including at least one illegitimate daughter. His first child and only son died at the age of two. His third wife was fellow Mexican artist Frida Kahlo, with whom he had a volatile relationship that continued until her death. His fourth and final wife was his agent.
Due to his importance in the country's art history, the government of Mexico declared Rivera's works as monumentos históricos.[1] As of 2018, Rivera holds the record for highest price at auction for a work by a Latin American artist. The 1931 painting The Rivals, part of the record-setting Collection of Peggy Rockefeller and David Rockefeller, sold for US$9.76 million.[2]
Rivera was born on December 8, 1886, as one of twin boys in Guanajuato, Mexico, to María del Pilar Barrientos and Diego Rivera Acosta, a well-to-do couple.[3] His twin brother Carlos died two years after they were born.[4]
His mother María del Pilar Barrientos was said to have converso ancestry (Spanish ancestors who were forced to convert from Judaism to Catholicism in the 15th and 16th centuries).[5] Rivera wrote in 1935: "My Jewishness is the dominant element in my life", despite never being raised practicing any Jewish faith, Rivera felt his Jewish ancestry informed his art and gave him "sympathy with the downtrodden masses".[6][3] Diego was of Spanish, Amerindian, African, Italian, Jewish, Russian, and Portuguese descent.[3][7][8]
Rivera began drawing at the age of three, a year after his twin brother died. When he was caught drawing on the walls of the house, his parents installed chalkboards and canvas on the walls to encourage him.
Marriages and families
After moving to Paris, Rivera met Angelina Beloff, an artist from the pre-Revolutionary Russian Empire. They married in 1911, and had a son, Diego (1916–1918), who died young. During this time, Rivera also had a relationship with painter Maria Vorobieff-Stebelska, who gave birth to a daughter named Marika Rivera in 1918 or 1919.[9][pageneeded]
Portrait of Angelina Beloff, 1918
Rivera divorced Beloff and married Guadalupe Marín as his second wife in June 1922, after having returned to Mexico. They had two daughters together: Ruth and Guadalupe.
He was still married when he met art student Frida Kahlo in Mexico. They began a passionate affair and, after he divorced Marín, Rivera married Kahlo on August 21, 1929. He was 42 and she was 22. Their mutual infidelities and his violent temper resulted in divorce in 1939, but they remarried December 8, 1940, in San Francisco, California.
A year after Kahlo's death, on July 29, 1955, Rivera married Emma Hurtado, his agent since 1946.
In his later years Rivera lived in the United States and Mexico. Rivera died on November 24, 1957, at the age of 70. He was buried at the Panteón de Dolores in Mexico City.[10]
Personal beliefs
Rivera was an atheist. His mural Dreams of a Sunday in the Alameda depicted Ignacio Ramírez holding a sign that read, "God does not exist". This work caused a furor, but Rivera refused to remove the inscription. The painting was not shown for nine years – until Rivera agreed to remove the inscription. He stated: "To affirm 'God does not exist', I do not have to hide behind Don Ignacio Ramírez; I am an atheist and I consider religions to be a form of collective neurosis."[11]
From there he went to Paris, France, a destination for young European and American artists and writers, who settled in inexpensive flats in Montparnasse. His circle frequented La Ruche, where his Italian friend Amedeo Modigliani painted his portrait in 1914.[12] His circle of close friends included Ilya Ehrenburg, Chaïm Soutine, Modigliani and his wife Jeanne Hébuterne, Max Jacob, gallery owner Léopold Zborowski, and Moise Kisling. Rivera's former lover Marie Vorobieff-Stebelska (Marevna) honored the circle in her painting Homage to Friends from Montparnasse (1962).[13]
In those years, some prominent young painters were experimenting with an art form that would later be known as Cubism, a movement led by Pablo Picasso and Georges Braque. From 1913 to 1917, Rivera enthusiastically embraced this new style.[14] Around 1917, inspired by Paul Cézanne's paintings, Rivera shifted toward Post-Impressionism, using simple forms and large patches of vivid colors. His paintings began to attract attention, and he was able to display them at several exhibitions.
Rivera claimed in his autobiography that, while in Mexico in 1904, he engaged in cannibalism, pooling his money with others to "purchase cadavers from the city morgue" and particularly "relish[ing] women's brains in vinaigrette".[15][16][17] This claim has been considered factually suspect[18] or an elaborate lie.[19] He wrote in his autobiography: "I believe that when man evolves a civilization higher than the mechanized but still primitive one he has now, the eating of human flesh will be sanctioned. For then man will have thrown off all of his superstitions and irrational taboos."[20]
Career in Mexico
Dolores del Río's portrait by Diego Rivera in the Museum Casa-Estudio Diego Rivera & Frida Kahlo in Mexico City
In the autumn of 1922, Rivera participated in the founding of the Revolutionary Union of Technical Workers, Painters and Sculptors, and later that year he joined the Mexican Communist Party[24] (including its Central Committee). His murals, subsequently painted in fresco only, dealt with Mexican society and reflected the country's 1910 Revolution. Rivera developed his own native style based on large, simplified figures and bold colors with an Aztec influence clearly present in murals at the Secretariat of Public Education in Mexico City[25] begun in September 1922, intended to consist of one hundred and twenty-four frescoes, and finished in 1928.[22] Rivera's art work, in a fashion similar to the steles of the Maya, tells stories. The mural En el Arsenal (In the Arsenal)[26] shows on the right-hand side Tina Modotti holding an ammunition belt and facing Julio Antonio Mella, in a light hat, and Vittorio Vidali behind in a black hat. However, the En el Arsenal detail shown does not include the right-hand side described nor any of the three individuals mentioned; instead it shows the left-hand side with Frida Kahlo handing out munitions. Leon Trotsky lived with Rivera and Kahlo for several months while exiled in Mexico.[27] Some of Rivera's most famous murals are featured at the National School of Agriculture (Chapingo Autonomous University of Agriculture) at Chapingo near Texcoco (1925–1927), in the Cortés Palace in Cuernavaca (1929–30), and the National Palace in Mexico City (1929–30, 1935).[28][29][30]
Rivera painted murals in the main hall and corridor at the Chapingo Autonomous University of Agriculture (UACh). He also painted a fresco mural titled Tierra Fecundada[31] (Fertile Land in English) in the university's chapel between 1923 and 1927. Fertile Land depicts the revolutionary struggles of Mexico's peasant (farmers) and working classes (industry) in part through the depiction of hammer and sickle joined by a star in the soffit of the chapel. In the mural, a "propagandist" points to another hammer and sickle. The mural features a woman with an ear of corn in each hand, which art critic Antonio Rodriguez describes as evocative of the Aztec goddess of maize in his book Canto a la Tierra: Los murales de Diego Rivera en la Capilla de Chapingo.
The corpses of revolutionary heroes Emiliano Zapata and Otilio Montano are shown in graves, their bodies fertilizing the maize field above. A sunflower in the center of the scene "glorifies those who died for an ideal and are reborn, transfigured, into the fertile cornfield of the nation", writes Rodrigues. The mural also depicts Rivera's wife Guadalupe Marin as a fertile nude goddess and their daughter Guadalupe Rivera y Marin as a cherub.[32]
The mural was slightly damaged in an earthquake, but has since been repaired and touched up, remaining in pristine form.[citation needed]
Later years
En el Arsenal (detail), 1928Portrait of Diego Rivera, March 19, 1932. Photo by Carl Van VechtenDiego Rivera (left) accompanies the director Rudolf Engel (center) and vice-president Otto Nagel (right) of the Akademie der Künste der DDR. BerlinOstbahnhof, March 21, 1956.House of Diego Rivera and Frida Kahlo (built by Juan O'Gorman in 1930)
In the autumn of 1927, Rivera went to Moscow, Soviet Union, having accepted a government invitation to take part in the celebration of the 10th anniversary of the October Revolution. The following year, while still in the Soviet Union, he met American Alfred H. Barr Jr., who would soon become Rivera's friend and patron. Barr was the founding director of the Museum of Modern Art in New York City.[33]
Although commissioned to paint a mural for the Red Army Club in Moscow, in 1928 Rivera was ordered by authorities to leave the country because, he suspected, of "resentment on the part of certain Soviet artists."[34] He returned to Mexico.
In 1929, following the assassination of former president Álvaro Obregón the previous year, the government suppressed the Mexican Communist Party. That year Rivera was expelled from the party because of his suspected Trotskyite sympathies. In addition, observers noted that his 1928 mural In the Arsenal includes the figures of communists Tina Modotti, Cuban Julio Antonio Mella, and Italian Vittorio Vidali. After Mella was murdered in January 1929, allegedly by Stalinistassassin Vidali, Rivera was accused of having had advance knowledge of a planned attack.
After divorcing his second wife, Guadalupe (Lupe) Marin, Rivera married the much younger Frida Kahlo in August 1929. They had met when she was a student, and she was 22 years old when they married; Rivera was 42.
Also in 1929, American journalist Ernestine Evans's book The Frescoes of Diego Rivera, was published in New York City; it was the first English-language book on the artist. In December, Rivera accepted a commission from the American ambassador to Mexico to paint murals in the Palace of Cortés in Cuernavaca, where the US had a consulate.[35]
In September 1930, Rivera accepted a commission by architect Timothy L. Pflueger for two works related to his design projects in San Francisco. Rivera and Kahlo went to the city in November. Rivera painted a mural for the City Club of the San Francisco Stock Exchange for US$2,500.[36] He also completed a fresco for the California School of Fine Art, a work that was later relocated to what is now the Diego Rivera Gallery at the San Francisco Art Institute.[35]
During this period, Rivera and Kahlo worked and lived at the studio of Ralph Stackpole, who had recommended Rivera to Pflueger. Rivera met Helen Wills Moody, a notable American tennis player, who modeled for his City Club mural.[36]
In November 1931, the Museum of Modern Art in New York City mounted a retrospective exhibition of Rivera's work; Kahlo attended with him.[37]
Between 1932 and 1933, Rivera completed a major commission: twenty-seven fresco panels, entitled Detroit Industry, on the walls of an inner court at the Detroit Institute of Arts. Part of the cost was paid by Edsel Ford, scion of the entrepreneur.
During the McCarthyism of the 1950s, a large sign was placed in the courtyard defending the artistic merit of the murals while attacking his politics as "detestable."[33]
His mural Man at the Crossroads, originally a three-paneled work,[38] begun as a commission for John D. Rockefeller Jr. in 1933 for the Rockefeller Center in New York City, was later destroyed. Because it included a portrait of Vladimir Lenin, former leader of the Soviet Union and Marxist pro-worker content, Rockefeller's son, the press, and some of the public protested, but the decision to destroy it was made by the management company. Anti-Communism ran high in some American circles, although many others in this period of the Great Depression had been drawn to the movement as offering hope to labor.
When Diego refused to remove Lenin from the painting, he was ordered to leave the US. One of Diego's assistants managed to take a few photographs of the work so Diego was able to later recreate it. American poet Archibald MacLeish wrote six "irony-laden" poems about the mural.[39]The New Yorker magazine published E. B. White's light poem, "I paint what I see: A ballad of artistic integrity", also in response to the controversy with number of sponsors taking offense to it.[40]
The Tomb of Diego Rivera in The Rotunda of Illustrious Persons inside the Panteón de Dolores
As a result of the negative publicity, officials in Chicago cancelled their commission for Rivera to paint a mural for the ChicagoWorld's Fair. Rivera issued a press statement, saying that he would use the remaining money from his commission at Rockefeller Center to repaint the same mural, over and over, wherever he was asked, until the money ran out. He had been paid in full although the mural was reportedly destroyed. There have been rumors that the mural was covered over rather than removed and destroyed, but this has not been confirmed.
On June 5, 1940, invited again by Pflueger, Rivera returned for the last time to the United States to paint a ten-panel mural for the Golden Gate International Exposition in San Francisco. His work, Pan American Unity was completed November 29, 1940. Rivera painted in front of attendees at the Exposition, which had already opened. He received US$1,000 per month and US$1,000 for travel expenses.[36] The mural includes representations of two of Pflueger's architectural works, and portraits of Rivera's wife, Frida Kahlo, woodcarver Dudley C. Carter, and actress Paulette Goddard. She is shown holding Rivera's hand as they plant a white tree together.[36] Rivera's assistants on the mural included Thelma Johnson Streat, a pioneer African-American artist, dancer, and textile designer. The mural and its archives are now held by City College of San Francisco.[41][42]
In 1946-47, Rivera painted A Dream of a Sunday Afternoon in the Alameda Park, a fresco that featured a fully elaborated figure of La Calavera Catrina. This character, which was created by José Guadalupe Posada, originally consisted of a print depicting the head and shoulders of a skeletal woman in a big hat. Rivera endowed his Catrina figure with indigenous features and thus transformed her into a nationalist icon. Catrina is the most common image associated with Day of the Dead.[43]
Membership in AMORC
In 1926, Rivera became a member of AMORC, the Ancient Mystical Order Rosae Crucis, an occult organization founded by American occultist Harvey Spencer Lewis. In 1926, Rivera was among the founders of AMORC's Mexico City lodge, called Quetzalcoatl after an ancient indigenous god. He painted an image of Quetzalcoatl for the local temple.[44]
In 1954, Rivera tried to be readmitted into the Mexican Communist Party. He had been expelled in part because of his support of Trotsky, who had been exiled and assassinated years before in Mexico. Rivera was required to justify his AMORC activities. At the time, the Mexican Communist Party excluded persons involved in Freemasonry, and regarded AMORC as suspiciously similar to Freemasonry.[45] Rivera told his questioners that, by joining AMORC, he wanted to infiltrate a typical "Yankee" organization on behalf of Communism. However, he also claimed that AMORC was "essentially materialist, insofar as it only admits different states of energy and matter, and is based on ancient Egyptian occult knowledge from Amenhotep IV and Nefertiti."[46]
An important scene of the Netflix television series Sense8 (Episode S1E8 Death Doesn't Let You Say Goodbye, broadcast in 2015) is played in the Anahuacalli Museum, called “Diego Rivera Museum” by the Lito character. He and his co-sensate, Nomi, discuss about Rivera sitting in front of what is supposed to be a sketch of Rivera's Man at the Crossroads mural for the Rockefeller Center, destroyed in 1933 by Rockefeller.
Autobiography
My Life, My Art: An Autobiography, by Diego Rivera, with Gladys March,[47] was published posthumously in 1960. Beginning with a 1944 interview for a newspaper article, March "spent several months each year with Rivera, eventually filling 2,000 pages with his recollections and interpretations of his art and life", and compiled an autobiography, written in the first person.[48]
Maternidad, Angelina y el niño Diego (Motherhood, Angelina and the Child Diego), c. August 1916, oil on canvas, 134.5 × 88.5cm, Museo de Arte Carrillo Gil. This work forms part of Rivera's Crystal Cubist period
The Outskirts of Paris, 1918
Still Life with Ricer also known as Still Life with Garlic Press, 1918
Bather of Tehuantepec, 1923
Flowers festival, 1925
Cargadora con perro, 1927
Murals
Mural of exploitation of Mexico by Spanish conquistadores, Palacio Nacional, Mexico City (1929–1945)
Mural of the Aztec city of Tenochtitlan, Palacio Nacional, Mexico City
Mural of the Aztec market of Tlatelolco, Palacio Nacional, Mexico City
Mural showing Aztec production of gold, Palacio Nacional, Mexico City
Mural showing Totonaca celebrations and ceremonies, Palacio Nacional, Mexico City
Magdalena Carmen Frida Kahlo y Calderón was a Mexican painter known for her many portraits, self-portraits, and works inspired by the nature and artifacts of Mexico. Inspired by the country's popular culture, she employed a naïve folk art style to explore questions of identity, postcolonialism, gender, class, and race in Mexican society. Her paintings often had strong autobiographical elements and mixed realism with fantasy. In addition to belonging to the post-revolutionary Mexicayotl movement, which sought to define a Mexican identity, Kahlo has been described as a surrealist or magical realist. She is also known for painting about her experience of chronic pain.
Frida is a 2002 American biographical drama film directed by Julie Taymor which depicts the professional and private life of the surrealist Mexican artist Frida Kahlo.
The Palacio de Bellas Artes is a prominent cultural center in Mexico City. This hosts performing arts events, literature events and plastic arts galleries and exhibitions. "Bellas Artes" for short, has been called the "art cathedral of Mexico", and is located on the western side of the historic center of Mexico City which is close to the Alameda Central park.
Arturo García Bustos was a Mexican painter and print maker. He is known as one of “Los Fridos” students who studied under Frida Kahlo at her home in Coyoacán.
Man at the Crossroads (1933) was a fresco by Mexican painter Diego Rivera. Originally slated to be installed in the lobby of the RCA Building at Rockefeller Center in New York City, the fresco showed aspects of contemporary social and scientific culture. As originally installed, it was a three-paneled artwork. A central panel, depicting a worker controlling machinery, was flanked by two other panels, The Frontier of Ethical Evolution and The Frontier of Material Development, which respectively represented socialism and capitalism.
The Diego Rivera Anahuacalli Museum is a museum and arts center in Mexico City, located in the San Pablo de Tepetlapa neighborhood of Coyoacán, 10 minutes by car from the Frida Kahlo Museum, as well as from the tourist neighborhood of this district.
María de los Dolores Olmedo y Patiño Suarez was a Mexican businesswoman, philanthropist and musician, better known for her friendship with the Mexican painters Frida Kahlo and her husband Diego Rivera; she appeared in some of his paintings. Following Rivera's death in 1957, she and Rivera's daughter Guadalupe asked then president Adolfo López Mateos to consider Rivera and José Clemente Orozco's paintings historical monuments.
Fanny Rabel, born Fanny Rabinovich, was a Polish-born Mexican artist who is considered to be the first modern female muralist and one of the youngest associated with the Mexican muralism of the early to mid 20th century. She and her family arrived to Mexico in 1938 from Europe and she studied art at the Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda", where she met and became friends with Frida Kahlo. She became the only female member of “Los Fridos” a group of students under Kahlo’s tutelage. She also worked as an assistant and apprentice to Diego Rivera and David Alfaro Siqueiros, painting a number of murals of her own during her career. The most significant of these is "Ronda en el tiempo" at the Museo Nacional de Antropología in Mexico City. She also created canvases and other works, with children often featured in her work, and was one of the first of her generation to work with ecological themes in a series of works begun in 1979.
Angelina Beloff was a Russian-born artist who did most of her work in Mexico. However, she is better known as Diego Rivera’s first wife, and her work has been overshadowed by his and that of his later wives. She studied art in Saint Petersburg and then went to begin her art career in Paris in 1909. This same year she met Rivera and married him. In 1921, Rivera returned to Mexico, leaving Beloff behind and divorcing her. She never remarried. In 1932, through her contacts with various Mexican artists, she was sponsored to live and work in the country. She worked as an art teacher, a marionette show creator and had a number of exhibits of her work in the 1950s. Most of her work was done in Mexico, using Mexican imagery, but her artistic style remained European. In 1978, writer Elena Poniatowska wrote a novel based on her life.
Arturo Estrada Hernández is a Mexican painter, one of a group of Frida Kahlo’s students called “Los Fridos.” Estrada is mostly known for his mural work, which remains faithful to the figurative style and ideology of Mexican muralism. He has created murals in various parts of Mexico in both public and private places, including a 1988 mural found in the Centro Médico metro station in Mexico City. He has also taught classes at the Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda", where he was a student, since 1948 and continues to give classes there and other venues. He lives in his birthplace: Panindicuaro, Michoacán.
The Museo Dolores Olmedo is an art museum in Xochimilco, Mexico City, based on the collection of the Mexican businesswoman Dolores Olmedo. The museum will be relocated to Chapultepec in 2024.
The Frida Kahlo Museum, also known as the Blue House for the structure's cobalt-blue walls, is a historic house museum and art museum dedicated to the life and work of Mexican artist Frida Kahlo. It is in the Colonia del Carmen neighborhood of Coyoacán in Mexico City. The building was Kahlo's birthplace, the home where she grew up, lived with her husband Diego Rivera for a number of years, and where she later died in a room on the upper floor. In 1957, Rivera donated the home and its contents to turn it into a museum in Kahlo's honor.
Xavier Guerrero was one of the pioneers of the Mexican muralism movement in the early 20th century. He was introduced to painting through working with his father, who worked in masonry and decorating. However, there is evidence that his ability was mostly self-taught. In 1912, he moved to Guadalajara and began painting murals, then to Mexico City in 1919 just as the muralism movement was about to begin. Most of his work was in collaboration with or subordinate to other painters such as Diego Rivera and David Alfaro Siqueiros, working at the San Ildefonso College, the Secretaría de Educación Pública building and the Universidad Autónoma de Chapingo; however, much of his other work has been lost. While best known for his mural work, his later canvas work is considered to be better.
Rina Lazo Wasem was a Guatemalan-Mexican painter. She began her career in mural painting with Diego Rivera as his assistant. She worked with him from 1947 until his death in 1957 on projects both in Mexico and Guatemala. Thereafter, she remained an active painter, better known for her mural works than canvases, although the latter have been exhibited in Mexico and other countries. This has made her one of Guatemala's best-known artists. She was a member of the Mexican muralism movement and criticized modern artists as too commercial and not committed to social causes. She believed muralism would revive in Mexico because of its historical value.
Nefero was a Mexican painter and founding member of the Salón de la Plástica Mexicana. He was part of the Mexican muralism movement, whose work was particularly influenced by Manuel Rodríguez Lozano.
Antonio Peláez (1921–1994) was a Mexican artist of Spanish origin, who began his career in portraits but in the 1950s shifted to abstract art, concerned with texture, color and the use of space. His work was recognized by a retrospective at the Palacio de Bellas Artes, membership in the Salón de la Plástica Mexicana and a tribute by the Universidad Autónoma Metropolitana after his death.
Museo Mural Diego Rivera is a museum in Mexico City where Diego Rivera's 1946–47 mural Sueño de una Tarde Dominical en la Alameda Central is located.
The Two Fridas is an oil painting by Mexican artist Frida Kahlo. The painting was the first large-scale work done by Kahlo and is considered one of her most notable paintings. It is a double self-portrait, depicting two versions of Kahlo seated together. One is wearing a white European style Victorian dress, while the other is wearing a traditional Tehuana dress. The painting is housed at the Museo de Arte Moderno in Mexico City.
Mardonio Magaña-Camacho (c.1865–1947) also known as Magañita, was a Mexican educator and sculptor known for his folk art stone direct carvings, he was also known to work with wood and mud. He was a self-taught artist inspired by nature, that was "discovered" by artist Diego Rivera. It's said that Diego Rivera was quoted as saying Magaña was, "the greatest contemporary Mexican sculptor".
↑ Lipman, Jennifer (November 24, 2010). "On this day: Diego Rivera dies, November 24 1957: a portrait of an artist". The Jewish Chronicle. Archived from the original on December 21, 2010. Retrieved March 4, 2021. His mother was a Converso, a Jew whose ancestors had been forced to convert to Catholicism. Although he was not raised as a Jew and later declared himself an atheist
↑ "Mexico Virtual Jewish History Tour". Jewish Virtual Library, A Project of Aice. American-Israeli Cooperative Enterprise. Archived from the original on January 23, 2003. Retrieved September 20, 2012.
↑ Gale, Robert L. (February 2000). Millet, Francis Davis (1846-1912), artist and writer. American National Biography Online. Oxford University Press. doi:10.1093/anb/9780198606697.article.1700588.
↑ Rivera, Diego, My Art, My Life: An Autobiography (with Gladys March), New York: Dover Publications, Inc., 1991, p. 20; originally published by The Citadel Press, New York, 1960.
↑ Diego Rivera, Arte y política, México: Grijalbo, 1979, p. 354. ISBN968-419-083-2.
↑ Rivera, Diego, My Art, My Life: An Autobiography (with Gladys March), New York: Dover Publications, Inc., 1991; originally published by The Citadel Press, New York, 1960.
Azuela, Alicia. Diego Rivera en Detroit. Mexico City: UNAM 1985.
Bloch, Lucienne. "On location with Diego Rivera." Art in America 74 (February 1986, pp.102–23.
Craven, David. Diego Rivera as Epic Modernist. New York: G.K. Hall 1997.
Dickerman, Leah, and Anna Indych-López. Diego Rivera: Murals for the Museum of Modern Art. New York: The Museum of Modern Art 2011.
Downs, Linda. Diego Rivera: The Detroit Industry Murals. Detroit: The Detroit Institute of Arts 1999.
Evans, Robert [Joseph Freeman]. "Painting and Politics: The Case of Diego Rivera." New Masses (February 1932) 22-25.
González Mello, Renato. "Manuel Gamio, Diego Rivera and the Politics of Mexican Anthropology." RES 45 (Spring 2004) 161-85.
Lee, Anthony. Painting on the Left: Rivera, Radical Politics, and San Francisco's Public Murals. Berkeley and Los Angeles: University of California Press 1999.
Linsley, Robert. "Utopia Will Not be Televised: Rivera at Rockefeller Center." Oxford Art Journal 17, no. 2 (1994) 48-62.
Moyssén, Xavier, ed. Diego Rivera: Textos de arte. Mexico City: UNAM 1986.
Paquette, Catha (2017). At the Crossroads: Diego Rivera and his Patrons at MoMA, Rockefeller Center, and the Palace of Fine Arts. Austin: University of Texas Press. ISBN978-1477311004.
Rivera, Diego. Arte y política, Raquel Tibol, ed. Mexico City Grijalbo 1979.
Rivera, Diego and Gladys March. My Life, Life: An Autobiography. New York: Dover Publications 1960.
Rodrigues, Antonio. "Canto a la tierra: Los murales de Diego Rivera en la Capilla de Chapingo." (trans. Allyson Cadwell) Texcoco: Universidad Autonoma Chapingo, 1986 (1st reprint, 2000).
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