künstler/in (in grau: assistent/innen): Diego Rivera, Marco Antonio Borregui, Antonio Franco, Fermín González Chávez, Fanny Rabel, Diego Rosales, Pedro Serranotitel: México prehispanico y colonial: Agricultura (el mundo debe a México). Arquitectura (la cultura del antiguo México). — La gran Tenochtitlan (vista desde mercado de Tlatelolco). Siembra de maïs y estracción del aguamiel. Cosecha de frutos. Adoración de la haz. Cosecha, cardadura y tejer del algodon. Producción de papel. — Pintores y tintoreros (cultura tarasca). Teñido con caracol. Escultores. El tatuaje. — Arte plumaria y orfebrería (cultura zapoteca). La minería. El tallado. El comercio del chalchihuite. — Fiestas y ceremonias (cultura totonaca). Cosecha de frutos tropicales. Tejedores. Escultores. — El hule. Las armas. El maïs. Totopanitl. El cacao. Pochtecas. El amate y el maguey. Tlacuilos. — La llegada de Hernán Cortés a Veracruz. La explotación. El negro Juan Gattidojahr: 1942–51adresse: Palacio Nacional, 1° piso, muro septentrional y oriental, Plaza de la Constitucion (Avenida Pino Suarez, Corregidora esquina Guatemala), Col. Centro historico, Del. Cuauhtemoc, México D.F.México D.F.

kommentar:

• Selden Rodman, Mexican Journal, p. 22 (dieser beitrag wurde verfasst in: englisch)

  Rivera's mammoth historical catch-all in the stairwell, I had seen in 1937. It's a remarkable tour de force but already foreshadows the degeneration to come in tis illustrative didacticism. The real shocker was in what Rivera has done from 1943 on, in the loggias upstairs. With all the emphasis on picturesqueness, a loss of convincing scale becomes noticeable. The backgrounds are fruity, the skies tinted like Maxfield Parrish, the episodes contorted with 'unearned emotion.' The artist's greater knowledge, his emphasis on archeology and 'authentic' Aztec lore, fancy plumage, and weird instruments of torture contribute to the curio-shop effect. Propaganda – the presentation of the Conquistadors as deformed monsters, of Malinche's blue-eyed papoose, and so on – makes the result laughable rather than moving. Is it that, with weakening of conviction, loss of taste follows?

• Selden Rodman, Mexican Journal, p. 26 (dieser beitrag wurde verfasst in: englisch)

  [Juan] O'Gorman doesn't agree with me at all that Diego's recent work suffers from a lapse of taste. 'The National Palace murals are different, not inferior. Diego once said to me: 'They are beginning to approach the calendar art the masses truly appreciate, which (for that reason) is what I want to make them. If you want to converse with the masses, how presumptuous it would be to offer something they don't understand – just because the bourgeois intellectuals and art critics think it is in better taste! I myself now realize that my early work, like the Ministry of Education frescoes, failed to communicate with the masses because it was stylized and allegorical to meet certain irrelevant canons of Renaissance and Modern taste!'»