1 comments about Frida Kahlo and Diego Rivera: Their Lives and Ideas, 24 Activities (For Kids series).

1. Great resource for teaching about Latin American artisits and culture. The project ideas were original and the background information was very helpful.

1 comments about Diego Rivera: A Retrospective.

1. Long out of print, this book has never been surpassed as "the complete Rivera." This volume illustrates Diego Rivera's life and work, from his early years at the Mexican Academy of San Carlos and studies in Spain; his subsequent eleven-year sojourn in Paris in the first part of this century; to his efforts to establish a truly national Mexican style in the murals for which he is most famous. Illustrations of Rivera's work are accompanied by essays by noted scholars who reevaluate his place in the history of modern art.

No comments about Diego et Frida (Collection Echanges) (French Edition).

No comments about Six Rivera Paintings Cards.

5 comments about Dreaming with His Eyes Open: A Life of Diego Rivera (Discovery Series).

1. Marnham's biography provides a rotund, finely textured portrait worthy of the rotund Rivera. Marnham's Rivera is a technically blessed meta-Mexican eternally adapting his extraordinary gifts and solitary vision to the economic and political exigencies of Europe, Mexico, and the United States. Marnham's Rivera loves only art and as a consequence was - as we all now know - a bad husband, bad father and horrible politician but - as we may not know- never truly a bad man. Marnham is able to write with enormous respect for Rivera without losing his critical edge. For example, throughout the book, Marhnam's continuously tests Rivera's own autobiographical assertions against more conventional notions of truth with amusing irony but without condescension. Marnham never loses sight of Rivera's genius.

   The biography contributes fascinating details about Rivera's European years from his studies in Spain to his days/nights as a sometimes participant of the cafe society of the Free Republic of Montparnasse. Likewise, Marnham's discussion of the Rivera/ Kahlo visits to the United States is fascinating. Though this fills in large gaps in Rivera scholarship, my major criticism is that Marnham failed to dedicate comparable effort to Rivera's role in the intellectual currents of post-revolutionary Mexico. For instance, scarce mention is devoted to the contrasts and rivalries between Rivera, and the other notable mutalists of his day, Jose Clemente Orozco and David Alfaro Siqueiros. Marnham also ignores Rivera's artistic legacy in Mexico or the United States. While Rivera did not invent nor perhaps truly even master mural art, Rivera is certainly the premier inspiration for "public" artists on both sides of the border.

   For an interesting and literate discussion of Rivera and Mexican muralism, I recommend Octavio Paz, Essays on Mexican Art.




2. No footnotes, inadequate bibliography, and surprisingly, almost no mistakes. He reports on time and place in a constructive way and dispels Rivera's own myths about himself humorously. Very good read.



3. With various books written on the life of Diego Rivera this one is a must have. Anytime a subject is studied, it this case the life of arguably the greatest Mexican muralist, it is worthwhile to have various perspectives before coming to one's own conclusion. In that regard this book is invaluable as the author doesn't give you a softball and is quick to point out the inconsistencies in other versions of the larger than life Diego Rivera's exploits, including his own autobiography. The book itself is a fascinating portrait into the life of the celebrated Mexican muralist's life, beginning with the unusual circumstnances of his youth, his sojourn to Europe and studying art in France, his mingling in the bohemian lfestyle with various artists and intellectuals of his era, including his at times not so friendly rivalry with Spanish artist Pablo Picasso, his return to Mexico, his politics(communist) and the troubles he had since he usually mixed art and politics, his many, many love affairs, his multiple marriages including several to soul mate Frida Kahlo, his association with Trotsky(and his wife), his work in the United States and his later years in Mexico where he remained productive in spite of failing health. It is all here, both the believable and the unbelieveable, meshing together for a fascinating look at a man that could literally charm the pants off of the most beautiful women of the world. Included are two seperate groups of pictures that include rarely seen vintage photographs and color prints of his most famous works. Every now and then I read a book that I want to savor and take my time. Like a special meal or an intimate moment, this book was one that I wanted to savor once I began. I wanted to make it last because it was so enjoyable, knowing that the inevitable consequence of my reading would make it end I almost regretted finishing the book. I took days to read the final chapters in the hope that somehow the experience would not end. I would highly recommend this book to those that are interested in Diego Rivera, Frida Kahlo, and Mexican art or history. It is a book that paints more than a picture, it is more like a grand mural that captures the fantastic life of Diego Rivera. This is a highly enjoyable book and an indispensable aid in understanding the complex makeup of one of the true giants of art in the twentieth century.



4. Diego Rivera was born in the magical city of Guanajuato. This fact alone made me pick up this book and then buy it. I visited Guanajuato in 2002 and fell in love with the twisty roads, the Baroque facades of the Templos and the Basilica, the Easter-egg colored houses and the general feeling that one had been dropped down in a 18th Century Spanish town. Rivera left it with his mother at the age of six, but the city of his birth, with its recent mummies and Day of the Dead festivals left its mark on him.

   Rivera lived in Mexico City until 1907, when he left for Spain and for the next 15 years lived there and in France. He picked up a common-law wife and then a lover- a portent of things to come. He met and was friends (or sometimes enemies) with some of the greatest artists of the period, including Picasso, Mondrian, Modigliani and Matisse. He worked in classic style until he accepted Cubism, only to move toward Cezanne-style art, and eventually to develop his own style. He eventually became one of the greatest of modern fresco painters. However, his character was far from flawless. He lied about his past often and in different ways, depending on the situation, was not very careful about personal hygiene, and also often ran away from relationships to avoid unpleasant realities.

   Rivera joined the Mexican Communist Party (MCP) in 1922. After three failures at having a permanent relationship with a woman, he married the rather obsessional young Communist Frida Kahlo (who was twenty years his junior) in 1929. In that same year he was expelled from the MCP because of various internal party intrigues. He then became friends with the exiled Leon Trotsky, who repaid him by having a short affair with Frida. Frida, to make matters more complicated, was repaying Rivera for his affair with her sister. Because of his association with Trotsky, Rivera was not readmitted to the party again until 1954, after the death of Stalin. This summery only touches on and can hardly do justice to the complicated world of Diego Rivera, one of the most complex of men.

   Patrick Marnham presents in this book the convoluted ins and outs of Rivera's life, his many affairs and his association with the art world and the Communist Party in vivid detail.

   This is a fascinating study of this very complex and often selfish man who was also a great artist. It is also a window into a very confusing and turbulent time in the history of the World. It is a work that should be read by all interested in understanding this period and the modern world that rose from it.




5. I am surprised that other readers enjoyed this book, especially readers who like Rivera. I had the distinct impression that the author, Patrick Marnham, did not like Rivera. Rivera's larger than life personality can probably not be claimed to be understood by many people, and perhaps Marnham's total want of understanding is the source for his dislike.

   While this could be one of several books to read about Diego Rivera it should not be relied heavily upon. Marnham does not seem to approve of many of the characters he writes about in this book . I don't think he has an appreciation for colorful people. I felt he was a very supressed and uptight person writing about some very free spirits.

   A biography of Rivera seemed a poor subject choice for him. Perhaps being an art critic would be a better suited undertaking for him. Or maybe since his grasp of history seems good his temperment would be better suited to writing dry fact based history than attempting to discern the subtlties of the human character.

   He made several assertions that he represented as fact. One that springs to mind was that Frida Kahlo commited suicide. While that May be true, it also may not be true.

   Marnham collected information about Diego Rivera, where he went, when he went , etc, but gave no real sense of warmth of Diego Rivera. Since Rivera was a man of such great passion it was disappointing to have only a two dimensional portrait of him drawn. I felt I knew alot more of Marnham's personality after reading this book than of Rivera's. But touché I felt much the same about Marnham as he did Rivera, I didn't like him much.

No comments about Diego Rivera Detroit Industry Murals 2009 Wall Calendar.

No comments about Portrait of Mexico.

No comments about Diego Rivera: Illustrious Words 1921-1957, Volume II.

No comments about Diego Rivera: Illustrious Words 1886-1921, Volume I.

3 comments about El Indio (Spanish Edition).

1. This novel is a fictional account of true events. Every crime mentioned really happened. Lopez y Fuentes writes this book as a "composite novel" -- the time and location of the events, as well as names of individuals, are not named. Accompanied by illustrations by Diego Rivera, one of Mexico's most prestigious artists, this novel presents several years in the life of the descendents of the Aztecs.



2. Gregorio Lopez y Fuentes' 1937 novel 'El Indio' is not another politically correct version of what Western Europeans 'did to' the indigenous population of this hemisphere. Instead, it puts the reader in the middle of a clash of cultures, one that is repeated daily around the world to this day. Lopez y Fuentes moves readers to scream, 'How can they DO that?' or 'Why don't they just TALK to each other?' As we know, however, resolving cultural misunderstandings is never that easy despite the tragedies that fall out of faulty assumptions about what constitutes 'civilization' and 'progress,' as well as what happens when -- consciously or not -- people simply choose not to communicate. The deep backdrop is the time circa the Mexican Revolution, but Lopez y Fuentes suggests that the more things change for indigenous peoples in the modern world, the more they stay the same. Some specific historical background may be helpful, but it is not necessary. Since Lopez y Fuentes uses no character names or place names, one could read 'El Indio' as a generic story of a people and what happens to that people as a result of centuries of subjugation, racism, ethnocentrism, basic cultural assumptions, and a general disagreement about the 'nature' part of 'human nature.' Thoughful readers will use Lopez y Fuentes' account as a departure point to look at their own culture and cultural assumptions about 'backward' peoples around the world. A bonus: Full-page and cover illustrations by famous Mexican artist Diego Rivera.



3. A great little book that captures the simplicity of a culture caught up in the upheavals of modern civilization and it's encroaching values. Although the Indios described are from Mexico the theme of indigenous people and the clash between civilzations is universal and continues to this day. The suggested time frame is pre-conquest to the present(1937) and the language is one that reflects a simpler place in time. Not one character is named in this outstanding novel but the identification still exists with all those unnamed individuals. Along with Mariano Azuela's "Los de Abajo" ("The Underdogs"), this short novel is considered one of the best in Mexican literature. Without lavish and extravagant language the images are portrayed magnificently, quite possibly the simplicity of language is used to drive home the point. One of the most interesting aspects of this book is the inclusion of Nahuatl to describe certain cultural activities or aspects of the civilization. This works quite well with the inclusion of footnotes and adds a dimension of realism and authenticity to the novel that would probably be lost if they were not included. In this regard the book both educates and entertains. Of particular interest is the introduction of the closest thing to a character when the author describes The Nahual, or the supernatural being who can transform himself to any animal at will. Anyone interested in Mexican history, indigenous culture or the perspective of the Indio lifestyle and the inherent conflict created by European values would enjoy this book. As mentioned by another reviewer, an addional bonus are the numerous Diego Rivera illustrations throughout the book. The drawings have a cartoon coloring book style from early on in the master Mexican muralists career. I would also recommend this book for educators from the middle school level on especially if they are teaching something relating to Mexican life. This is a very entertaining book that can be read quite quickly.