This document contains details and images of portraits painted by Mexican artist Diego Rivera between 1907 and 1955. It provides descriptions of portraits of Rivera's wife Frida Kahlo, mistress Lupe Marin, friend Dolores Olmedo and others. The portraits showcase Rivera's skill in capturing the likenesses of his subjects and his blending of modern art styles with traditional Mexican aesthetics and symbolism. Close-up details of the portraits are also provided.
Coffee with a Curator: "Frida & Mexico - Background & Connections"The Dali Museum
Coffee with a Curator - Annette Norwood: "Frida & Mexico - Background & Connections"
Wednesday, April 5, 2017
Coffee with a Curator is a focused, theme-oriented presentation on a variety of Dali-related topics. The talk is presented by one of The Dali Museum’s Curatorial/Education team or an invited speaker.
Frida Kahlo and Mexico: Background and Connections
We invite you to join us for a talk by Annette Norwood, Dali Museum Project Researcher, who will present information on Frida Kahlo’s family background, the area of Mexico where she lived, Mexico itself and some of its history. In doing so, Dr. Norwood will make connections between various people, places and events.
Coffee with a Curator is a focused, theme-oriented presentation on a variety of Dali-related topics. The talk is presented by one of The Dali Museum’s Curatorial/Education team or an invited speaker. Frida Kahlo and Mexico: Background and Connections We invite you to join us for a talk by Annette Norwood, Dali Museum Project Researcher, who will present information on Frida Kahlo’s family background, the area of Mexico where she lived, Mexico itself and some of its history. In doing so, Dr. Norwood will make connections between various people, places and events.
View live presentation: http://ow.ly/ojn030drQyJ
For information on upcoming events at The Dali visit: http://thedali.org/events
Coffee with a Curator: "Frida & Mexico - Background & Connections"The Dali Museum
Coffee with a Curator - Annette Norwood: "Frida & Mexico - Background & Connections"
Wednesday, April 5, 2017
Coffee with a Curator is a focused, theme-oriented presentation on a variety of Dali-related topics. The talk is presented by one of The Dali Museum’s Curatorial/Education team or an invited speaker.
Frida Kahlo and Mexico: Background and Connections
We invite you to join us for a talk by Annette Norwood, Dali Museum Project Researcher, who will present information on Frida Kahlo’s family background, the area of Mexico where she lived, Mexico itself and some of its history. In doing so, Dr. Norwood will make connections between various people, places and events.
Coffee with a Curator is a focused, theme-oriented presentation on a variety of Dali-related topics. The talk is presented by one of The Dali Museum’s Curatorial/Education team or an invited speaker. Frida Kahlo and Mexico: Background and Connections We invite you to join us for a talk by Annette Norwood, Dali Museum Project Researcher, who will present information on Frida Kahlo’s family background, the area of Mexico where she lived, Mexico itself and some of its history. In doing so, Dr. Norwood will make connections between various people, places and events.
View live presentation: http://ow.ly/ojn030drQyJ
For information on upcoming events at The Dali visit: http://thedali.org/events
big and small, lined and soft, round and angular
of felt or velvet
adorned with fur, embroidery, gorgeous bird feathers, ribbons, stones according to the owner’s fortune
grands et petits, doublés et doux, ronds et angulaires,
en feutre ou en velours,
ornés de fourrure, broderies, plumes d'oiseaux magnifiques, de rubans, pierreries selon la fortune du propriétaire ...
Recognised as the most beautiful woman in the Mediterranean civilisations, hers was the face that launched a thousand ships and inspired the legends ...
Rückenfigur ... back figure in paintings.ppsxguimera
Wanderer above the Sea of Fog is perhaps the most iconic Rückenfigur in German Romantic painting …
Rückenfigur, the back-figure is a pictorial theme with significant power.
Rückenfigur ... back figure in paintings
Rückenfigur ... figure de dos dans la peinture.ppsxguimera
Le Voyageur contemplant une mer de nuages est probablement la Rückenfigur la plus emblématique de la peinture romantique allemande ...
Rückenfigur, la figure de dos est un thème pictural d'une grande puissance.
Has been depicted
in mythological and religious paintings, in still life, vanities, allegories, in the genre painting.
From Caravaggio and Rubens to Millet, through Vermeer, Delacroix, Manet, Moreau …
Panier en osier dans la peinture européenne.ppsxguimera
A été représenté
dans les peintures mythologiques et religieuses, les natures mortes, vanités, allégories, dans la peinture de genre.
Du Caravage et Rubens à Millet, en passant par Vermeer, Delacroix, Manet, Moreau ...
The Art of Rain_The beauty of rain in paintings..ppsxguimera
The beauty of rain in paintings.
expected or feared, delicate or stormy, metaphorical or very real, the rain has often entered the imagination of artists ...
L’art de la pluie_La beauté de la pluie dans la peinture..ppsxguimera
La beauté de la pluie dans la peinture.
espérée ou redoutée, fine ou orageuse, métaphorique ou bien réelle, la pluie s’est souvent invitée dans l’imaginaire des artistes ...
Medea and the beautiful Argonaut,
the first human Cain
Romulus and Remus nursed by the same she-wolf,
Vulcan who loves Venus who loves Mars
Eve and the Apple of the Tree of Temptation
and
the most human of emotions that inspired the painters
La jalousie dans la peinture européenne.ppsxguimera
Médée et le bel Argonaute,
le premier humain Caïn
Romulus et Remus nourris au sein de la même louve,
Vulcain qui aime Vénus qui aime Mars
Ève et la pomme de l'arbre de la tentation
et
la plus humaine des émotions qui a inspiré les peintres
créatures mi-hommes, mi-chevaux, habitant les forêts et les montagnes
violents et sauvages, avec une morale brutale, et un amour immodéré pour le vin et les femmes
This tutorial offers a step-by-step guide on how to effectively use Pinterest. It covers the basics such as account creation and navigation, as well as advanced techniques including creating eye-catching pins and optimizing your profile. The tutorial also explores collaboration and networking on the platform. With visual illustrations and clear instructions, this tutorial will equip you with the skills to navigate Pinterest confidently and achieve your goals.
Fashionista Chic Couture Maze & Coloring Adventures is a coloring and activity book filled with many maze games and coloring activities designed to delight and engage young fashion enthusiasts. Each page offers a unique blend of fashion-themed mazes and stylish illustrations to color, inspiring creativity and problem-solving skills in children.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.
4. RIVERA, Diego
El Retrato de Linda Christian, Portrait of Linda
Christian
1947
Oil on canvas, 111.7 x 90.5 cm
Private Colleccion
5. RIVERA, Diego
El Retrato de Linda Christian, Portrait of Linda
Christian (detail)
1947
Oil on canvas, 111.7 x 90.5 cm
Private Colleccion
6. RIVERA, Diego
El Retrato de Linda Christian, Portrait of Linda
Christian (detail)
1947
Oil on canvas, 111.7 x 90.5 cm
Private Colleccion
7. RIVERA, Diego
El Retrato de Linda Christian, Portrait of Linda
Christian (detail)
1947
Oil on canvas, 111.7 x 90.5 cm
Private Colleccion
8. RIVERA, Diego
El Retrato de Linda Christian, Portrait of Linda
Christian (detail)
1947
Oil on canvas, 111.7 x 90.5 cm
Private Colleccion
9. RIVERA, Diego
El Retrato de Linda Christian, Portrait of Linda
Christian (detail)
1947
Oil on canvas, 111.7 x 90.5 cm
Private Colleccion
10. RIVERA, Diego
El Retrato de Linda Christian, Portrait of Linda
Christian (detail)
1947
Oil on canvas, 111.7 x 90.5 cm
Private Colleccion
11.
12. RIVERA, Diego
Portrait of Frida Kahlo
1939
Oil on asbestos cement shingle , 35.56 x 24.77 cm
Los Angeles County Museum of Art (LACMA), Los
Angeles
13. RIVERA, Diego
Portrait of Frida Kahlo (detail)
1939
Oil on asbestos cement shingle , 35.56 x 24.77
cm
Los Angeles County Museum of Art (LACMA),
Los Angeles
14. RIVERA, Diego
Portrait of Frida Kahlo (detail)
1939
Oil on asbestos cement shingle , 35.56 x 24.77
cm
Los Angeles County Museum of Art (LACMA),
Los Angeles
15. RIVERA, Diego
Portrait of Frida Kahlo (detail)
1939
Oil on asbestos cement shingle , 35.56 x 24.77
cm
Los Angeles County Museum of Art (LACMA),
Los Angeles
24. RIVERA, Diego
Motherhood Angelina And The Child Diego
(detail)
1916
Oil on canvas, 86 x 132 cm
Museo de Arte Carrillo Gil, Mexico City
25. RIVERA, Diego
Motherhood Angelina And The Child Diego
(detail)
1916
Oil on canvas, 86 x 132 cm
Museo de Arte Carrillo Gil, Mexico City
26. RIVERA, Diego
Motherhood Angelina And The Child Diego
(detail)
1916
Oil on canvas, 86 x 132 cm
Museo de Arte Carrillo Gil, Mexico City
27. RIVERA, Diego
Motherhood Angelina And The Child Diego
(detail)
1916
Oil on canvas, 86 x 132 cm
Museo de Arte Carrillo Gil, Mexico City
28.
29. RIVERA, Diego
Portrait of Marevna
1915
Oil on canvas, 145.7 x 112.7 cm
Art Institute of Chicago, Chicago
30. RIVERA, Diego
Portrait of Marevna (detail)
1915
Oil on canvas, 145.7 x 112.7 cm
Art Institute of Chicago, Chicago
31. RIVERA, Diego
Portrait of Marevna (detail)
1915
Oil on canvas, 145.7 x 112.7 cm
Art Institute of Chicago, Chicago
32. RIVERA, Diego
Portrait of Marevna (detail)
1915
Oil on canvas, 145.7 x 112.7 cm
Art Institute of Chicago, Chicago
33.
34. RIVERA, Diego
Portrait of Adolfo Best Maugard
1913
Oil on canvas, 161,5 x h227,5 cm
Museo Nacional de Arte (MUNAL), Mexico City
35. RIVERA, Diego
Portrait of Adolfo Best Maugard (detail)
1913
Oil on canvas, 161,5 x h227,5 cm
Museo Nacional de Arte (MUNAL), Mexico City
36. RIVERA, Diego
Portrait of Adolfo Best Maugard (detail)
1913
Oil on canvas, 161,5 x h227,5 cm
Museo Nacional de Arte (MUNAL), Mexico City
37. RIVERA, Diego
Portrait of Adolfo Best Maugard (detail)
1913
Oil on canvas, 161,5 x h227,5 cm
Museo Nacional de Arte (MUNAL), Mexico City
38.
39. RIVERA, Diego
Portrait Of Natasha Zakólkowa Gelman
1943
Oil on canvas, 153 x 115 cm
The Jacque and Natasha Gelman Collection of
Mexican Art
40. RIVERA, Diego
Portrait Of Natasha Zakólkowa Gelman (detail)
1943
Oil on canvas, 153 x 115 cm
The Jacque and Natasha Gelman Collection of
Mexican Art
41. RIVERA, Diego
Portrait Of Natasha Zakólkowa Gelman (detail)
1943
Oil on canvas, 153 x 115 cm
The Jacque and Natasha Gelman Collection of
Mexican Art
42. RIVERA, Diego
Portrait Of Natasha Zakólkowa Gelman (detail)
1943
Oil on canvas, 153 x 115 cm
The Jacque and Natasha Gelman Collection of
Mexican Art
43.
44. RIVERA, Diego
Portrait of Lupe Marin
1938
Oil on canvas, 122.3 x 171.3 cm
Museo de Arte Moderno, Mexico City
45. RIVERA, Diego
Portrait of Lupe Marin (detail)
1938
Oil on canvas, 122.3 x 171.3 cm
Museo de Arte Moderno, Mexico City
46. RIVERA, Diego
Portrait of Lupe Marin (detail)
1938
Oil on canvas, 122.3 x 171.3 cm
Museo de Arte Moderno, Mexico City
47. RIVERA, Diego
Portrait of Lupe Marin (detail)
1938
Oil on canvas, 122.3 x 171.3 cm
Museo de Arte Moderno, Mexico City
48. RIVERA, Diego
Portrait of Lupe Marin (detail)
1938
Oil on canvas, 122.3 x 171.3 cm
Museo de Arte Moderno, Mexico City
51. RIVERA, Diego
Portrait Of Ruth Rivera (detail)
1949
Oil on canvas, 100.5 x 199 cm
Private Collection
52. RIVERA, Diego
Portrait Of Ruth Rivera (detail)
1949
Oil on canvas, 100.5 x 199 cm
Private Collection
53. RIVERA, Diego
Portrait Of Ruth Rivera (detail)
1949
Oil on canvas, 100.5 x 199 cm
Private Collection
54. RIVERA, Diego
Portrait Of Ruth Rivera (detail)
1949
Oil on canvas, 100.5 x 199 cm
Private Collection
55.
56. RIVERA, Diego
Portrait of Dolores Olmedo (La Tehuana)
1955
Oil on canvas, 37,8 x 26,5 cm
Museo Dolores Olmedo, Mexico City
57. RIVERA, Diego
Portrait of Dolores Olmedo (La Tehuana) (detail)
1955
Oil on canvas, 37,8 x 26,5 cm
Museo Dolores Olmedo, Mexico City
58. RIVERA, Diego
Portrait of Dolores Olmedo (La Tehuana) (detail)
1955
Oil on canvas, 37,8 x 26,5 cm
Museo Dolores Olmedo, Mexico City
59. RIVERA, Diego
Portrait of Dolores Olmedo (La Tehuana) (detail)
1955
Oil on canvas, 37,8 x 26,5 cm
Museo Dolores Olmedo, Mexico City
60. RIVERA, Diego
Portrait of Dolores Olmedo (La Tehuana) (detail)
1955
Oil on canvas, 37,8 x 26,5 cm
Museo Dolores Olmedo, Mexico City
61. Art in Detail: RIVERA, Diego, Featured
Paintings
images and text credit www.
Music wav.
created olga.e.
thanks for watching
oes
62. RIVERA, Diego
Portrait of Dolores Olmedo (La Tehuana)
During 1955 Rivera produced a large number of easel paintings, mainly portraits, including this one, also known as The Tehuana, of his friend
Dolores Olmedo. Doña Lola is portrayed in the very colorful attire of the Isthmus of Tehuantepec, an example of the richness of traditional Mexican
textile design.
Tehuana clothing was in vogue during the 1930s and 40s, when the wives and models (or muses) of painters, writers, and musicians wore it to exalt
the richness and beauty of traditional Mexican costume. Some of these women made the fashion part of their public personas and wore it proudly:
María Izquierdo, Lupe Marín, Dolores Olmedo, María Asúnsolo, Lola Álvarez Bravo, and of course Frida Kahlo.
63. RIVERA, Diego
Portrait of Frida Kahlo
This is Diego Rivera's only known easel portrait of his wife.
The image is hauntingly similar to Frida Kahlo's own self-portraits. Rivera's work probably dates from the late 1930s, the period of their brief
divorce before their remarriage in 1940. The painting was found in Rivera's studio at the time of his death.
64. RIVERA, Diego
Self-portrait with Broad-Brimmed Hat
When Diego Rivera arrived to Europe in 1907, he entered the atelier of Eduardo Chicharro y Agüera, who was only thirteen years older than him..
Through Chicharro’s teachings Rivera became acquainted with Spanish modernismo. He spent long hours painting, a habit he would never
abandon and one that earned him the praise of his mentor.
Self-Portrait with Broad-Brimmed Hat depicts a young man who was trying to reflect the ambience in which he was immersed. His face shows
certain nostalgia, characteristic of Spanish romanticism and fin-de-siècle bohemianism.
The atmosphere is further accented by the bottle and glass of beer on the table. The painter is wearing a soft, broad-brimmed hat that gives its
Spanish name (chambergo) to the painting. Leaning slightly to the right, the figure gives occasion for the brushwork and the rendering of light and
shadow that Rivera studied at Chicharro’s atelier.
65. RIVERA, Diego
Portrait of Lupe Marin
Guadalupe Marin, nicknamed Lupe, she was an exotic beauty possessed with wild emotions. Unfortunately her violent jealousy of Diego was
even more than his passionate nature could eventually bear. On more than one occasion, she tore up his drawings in a fit of rage when Diego
paid the slightest attention to other women.
In the beginning, there is no doubt, that Diego provoked Lupe for his own amusement. Even jealous of his love for Pre-Columbian sculpture, in
a moment of high drama, she ground up a prized statue and fed it to him in his soup. As time wore on, however, he grew tired of it and later
said, "Lupe was a beautiful, spirited animal, but her jealousy and possessiveness gave our life together a wearying, hectic intensity." They had
two daughters Lupe, born in 1924 and Ruth, born in 1926.
In this magnificent portrait of Lupe Marin from whom he separated the previous decade, Rivera again reveals his profound artistic debt to the
European painting tradition.
Utilizing a device deployed by such artists as Diego Velazquez, Manet, and Gauguin he portrays his subject partially in reflection through his
depiction of a mirror in the background. The painting's coloration and the subject's expressive hands call to mind another artistic hero, El
Greco, while its composition and structure suggest the art of Cézanne.
66. RIVERA, Diego
Portrait Of Natasha Zakólkowa Gelman
Mexico from Eastern Europe in 1941 and became a movie mogul who produced many films with Mario Moreno, who was best known as the actor
Cantinflas. Mr. Gelman and his wife, Natasha Zahalka Gelman, a Czech immigrant from Moravia, became avid art collectors.
The first work by Diego Rivera that Jacques Gelman acquired was a large portrait of his elegant wife, commissioned from Rivera. The glamorous
Mrs. Gelman is clad in a white gown and reclines on a divan against a background of large bouquets of calla lilies.
The calla lily, a sensual, sculptural flower - and quintessential example of Mexico's exuberant flora - was celebrated by Rivera many times,
particularly in frescoes depicted peasants with indigenous features carrying bundles or offerings of them.
67. RIVERA, Diego
Portrait of Adolfo Best Maugard
Diego Rivera was living in Paris at the same time as Adolfo Best Maugard, who had been in Europe, at the behest of the Ministry of Education and
Fine Arts, since 1912 for the purpose of making copies of Mexican archeological artifacts that were on exhibition in European museums.
Rivera executed this metaphorically charged portrait, whose two planes display a strong stylistic contrast with each other, in 1913. The static,
elongated, elegantly dressed protagonist stands out in the foreground, standing on a sort of red-railed balcony that distances him from, and raises
him above the urban scene in the background i.e. the modern Paris of the time, with a train, factories whose chimneys billow forth clouds of smoke
that give an impression of movement, urban buildings depicted in a Cubist style, a futuristically rapid train and, behind everything, a wheel of fortune
spinning so dizzily that its spokes are blurred.
The aforesaid wheel of fortune, reminiscent of the one built for the 1900 Paris Universal Exhibition, symbolizes technological progress. Rivera
succeeded in connecting these two spaces, depicted in different styles, by using perspective to provide a visual link between the protagonist's
forefinger and the center of the wheel of fortune, suggesting that man, from a higher plane and acting as a demiurge, directs and promotes progress.
68. RIVERA, Diego
Portrait Of Ruth Rivera
Having immortalized Lupe Marin and his daughters Guadalupe and Ruth in the gigantic historical mural in the Hotel del Prado, in 1949 Rivera
painted the large-sized full-figure Portrait of Ruth Rivera.
The subject stands in the manner of a figure from Classical Antiquity, wearing a white tunic and thonged sandals, in front of a round mirror
which reflects her profile in brilliant yellow, strikingly resembling the Maya profiles seen in pre-Columbian sculpture and reliefs.
69. RIVERA, Diego
Motherhood Angelina And The Child Diego
Motherhood is a modernizing, Cubist treatment on a perennial art historical theme: the Madonna and Child. In this painting, Angelina Beloff,
Rivera's common-law wife for twelve years, holds their newborn son, Diego, who died of influenza just months after his birth.
The painting beautifully illustrates Rivera's unique approach to Cubism, which rejected the somber, monochromatic palette deployed by artists
such as Picasso or Georges Braque in favor of vivid colors more reminiscent of those used by Fauvism artist like Henri Matisse.
70. RIVERA, Diego
Portrait of Marevna
Portrait of Marevna depicts Rivera’s mistress, the Russian artist Maria Vorobieff-Stebelska. The couple’s relationship was tempestuous; Rivera
later described Marevna as a “she-devil,” and he conveyed a sense of her ferocity in this portrait, particularly in the figure’s distinctive frown
and squinting eye.
The portrait exemplifies Rivera’s growing adoption of elements of Synthetic Cubism, in which he constructed images sequentially, building
layer upon layer in an additive manner rather than deconstructing forms into fragmented planes.
Rivera emphasized the geometric patterning of the composition through his use of textures, both painterly and illusionistic. The most notable
example of his use of texture is the rectangular form with a brocade pattern, which appears to be a collaged piece of fabric or wallpaper, but is
in fact a trompe l’oeil facsimile that alludes to Cubist collage techniques.
71. RIVERA, Diego
El Retrato de Linda Christian, Portrait of Linda Christian
The most provocative and beautiful portrait ever painted by Diego Rivera never before exhibited and virtually unknown to the general public and
scholars alike.
In ‘47 Rivera painted the young actress as a nude figure, but Christian’s mother objected, insisting that the artist cover up her daughter’s bare
breasts. A compromise was reached when Rivera painted a delicate but highly transparent lace blouse on the young woman’s torso. Honestly it only
heightened the eroticism of the portrait.
Talking heads and so-called art world “experts” have commented that Rivera’s use of the “kissing” hummingbirds was a sexual metaphor. The
depiction of the birds supposedly “exploring the internal cavities of flowers,” is said to be a subtle sexual reference.
72. Almost all periods of Rivera's career include portraits. Besides numerous portrayals of historical figures in the murals,
which served primarily political purposes, he began to paint portraits of persons close to him, friends and acquaintances,
at a very early stage, during his years in Europe.
In these works he sought to bring out the subjects' fundamental characteristics. Sometimes he emphasized certain parts
of the body in an almost expressionist way, as in the extraordinary Portrait of Lupe Marin, depicting his former wife sitting
in front of a mirror, a recurring motif in his portraits.
Having immortalized Lupe Marin and his daughters Guadalupe and Ruth in the gigantic historical mural in the Hotel del
Prado, in 1949 Rivera painted the large-sized full-figure Portrait of Ruth Rivera. The mythological impact that this painting
makes is in sharp contrast to most of Rivera's other female portraits where, as in Portrait of Cuca Bustamante, the subject
is frequently shown in brightly coloured Mexican costume or there is a heightened Mexican ambience with exotic flowers
and fruit.
In paintings of the latter category, parallels are often drawn between background attributes and the women portrayed: the
pose and the white, close-fitting evening dress of Natasha Gelman, for example, wife of a famous and prosperous film-
producer, take up the elegant form of the calla lilies providing the prominent background, which at the same time
symbolize the nature of the fine woman.
In these works Rivera refrains from his penchant for historical narrative and reveals himself as an extremely sensual
painter, letting his feelings and fantasies flow freely into his compositions.