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78-710: Pan American Unity is a mural painted by Mexican artist and muralist Diego Rivera for the Art in Action exhibition at Treasure Island 's Golden Gate International Exposition (GGIE) in San Francisco, California in 1940. This work was the centerpiece of the Art In Action exhibit, which featured many different artists engaged in creating works during the Exposition while the public watched. Pan American Unity ,

156-743: A Native Talent for Plastic Expression' Persons depicted in Section One include: 'Elements from Past and Present' Persons depicted in Section Two include: 'The Plastification of Creative Power of the Northern Mechanism by Union with the Plastic Tradition of the South' The central section is largely taken up by a depiction of Coatlicue , Aztec Goddess of Life, merged with a huge stamping machine from Detroit, symbolizing

234-483: A catalyst for challenging societal norms. She also visited Mexico and Canada. Streat debuted her new choreography, inspired by her travels, in a performance at the San Francisco Museum of Art in 1946, which combined African, Haitian, Hawaiian, Native American, Portuguese and other indigenous dance forms. Streat realized that prejudice and bigotry are learned, usually during childhood. In order to combat

312-546: 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." In 1920, urged by Alberto J. Pani , the Mexican ambassador to France, Rivera left France and traveled through Italy studying its art, including Renaissance frescoes . After José Vasconcelos became Minister of Education, Rivera returned to Mexico in 1921 to become involved in

390-608: A comprehensive marriage of the themes of Mexican artistry and US technology in Pan-American Unity. The mural included the images of his wife, Frida Kahlo , woodcarver Dudley C. Carter , and himself, planting a tree and holding the hand of actress Paulette Goddard . Timothy L. Pflueger is depicted holding the architectural plans for the planned Pflueger Library. The mural is composed of ten panels arranged in five sections, all of which relate Rivera's firmly held belief that multicultural artistic expression will form into

468-673: A consulate. 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. He also completed a fresco for the California School of Fine Art, a work that was later relocated to what

546-539: 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. 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

624-506: 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. Some of Rivera's most famous murals are featured at

702-536: 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." His mural Man at

780-464: A pioneer African-American artist, dancer, and textile designer. The mural and its archives are now held by City College of San Francisco . 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

858-464: A pioneer in modern African American art, her work influenced and was influenced by Jacob Lawrence , Sargent Johnson , Romare Bearden , William H. Johnson , and the other artistic leaders of her time. Her ability to integrate dance, song and folklore from a variety of cultures into a presentation package and utilize it to educate and inspire an appreciation across ethnic lines was revolutionary for her time. Her most well-known painting, Rabbit Man ,

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936-686: A pistol against right-wing students. 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 (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

1014-506: A program showing not only the Negro's tribulations but also the Negro's contributions to the nation's wealth was needed, so she initiated a visual education program called "The Negro in History." Through a series of murals depicting the contributions of people of African descent, panels showed Black Americans in industry, agriculture, medicine, science, meat packing, and transportation. There

1092-507: A retrospective exhibition of his works was held at the Museum of Modern Art in New York; this was before he completed his 27-mural series known as Detroit Industry Murals . 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

1170-428: A true fresco , was painted locally in San Francisco on commission for San Francisco Junior College during the second session of GGIE, held in the summer of 1940. At the time of the mural commission, college leadership had planned on installing it at the yet-to-be-built Pflueger Library after the closing of the 1939–1940 GGIE. Pflueger had designed the library with the intent that Rivera's mural would cover three walls;

1248-547: A unified cultural entity regardless of individual points of origin. His belief in the eventual unity of the Americas , which became a common thread in much of his non-artistic expression, inspired the images represented in this mural. Each section consists of a larger upper panel and a smaller lower panel. The sections are numbered from left to right. 'The Creative Genius of the South Growing from Religious Fervor and

1326-546: 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 . 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. Rivera

1404-688: Is based on ancient Egyptian occult knowledge from Amenhotep IV and Nefertiti ." Diego Rivera has been portrayed in several films. He was played by Rubén Blades in Cradle Will Rock (1999), by Alfred Molina in Frida (2002), and (in a brief appearance) by José Montini in Eisenstein in Guanajuato (2015). Barbara Kingsolver 's novel, The Lacuna features Rivera, Kahlo, and Leon Trotsky as major characters. An important scene of

1482-426: Is his largest contiguous work and it completely spans the narrow lobby of the college's Diego Rivera Theater. Rivera was assisted in the project by Thelma Johnson Streat , an African-American artist and textile designer. Life magazine also noted the assistance of Mona Hoffman, and Rivera later wrote a letter to the editor crediting Emmy Lou Packard and Arthur Niendorff as his chief assistants. The formal title of

1560-497: Is in my opinion one of the most interesting manifestations in this country at the present. It is extremely evolved and sophisticated enough to reconquer the grace and purity of African and American art. Streat was a multi-talented artist, seeking to express herself through many creative avenues, including oil and watercolor paintings, pen and ink drawings, charcoal sketches, mixed media murals, and textile design. A year after her high school graduation, Streat had paintings on exhibit at

1638-707: Is now the Diego Rivera Gallery at the San Francisco Art Institute . 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. In November 1931, the Museum of Modern Art in New York City mounted a retrospective exhibition of Rivera's work; Kahlo attended with him. Between 1932 and 1933, Rivera completed

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1716-404: 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". Diego was of Spanish, Amerindian, African, Italian, Jewish, Russian, and Portuguese descent . Rivera began drawing at the age of three, a year after his twin brother died. When he was caught drawing on

1794-687: The Secretariat of Public Education in Mexico City begun in September 1922, intended to consist of one hundred and twenty-four frescoes, and finished in 1928. Rivera's art work, in a fashion similar to the steles of the Maya , tells stories. The mural En el Arsenal ( In the Arsenal ) shows on the right-hand side Tina Modotti holding an ammunition belt and facing Julio Antonio Mella , in

1872-547: The male gaze in his artistic creations. However, women are not simply objectified in the mural, which features a diverse array of figures that symbolize the cultural amalgamation of the Americas. The poses of the female figures vary, encompassing roles that span from agricultural labor to intellectual pursuits, suggesting a deliberate effort to depict women in diverse and empowered roles. However, some figures exhibit traditional femininity, raising questions about whether Rivera fully subverts established gender roles. The direction that

1950-482: The Americas ... an anti-nationalist way of looking at things." Pan American Unity inspired a poem by Bob Hicok , "Rivera's Golden Gate Mural", published in his first collection of poetry, The Legend of Light . From June 2021 to 2023, the mural will be exhibited at the San Francisco Museum of Modern Art (SFMoMA) and complement the exhibition, Diego Rivera's America , to open in 2022. It will be in

2028-584: 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 Stalinist assassin 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

2106-455: 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

2184-594: The Crossroads , originally a three-paneled work, 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

2262-817: The Crossroads in 1934 in the Palacio de Bellas Artes in Mexico City, calling this version Man, Controller of the Universe . 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

2340-432: The Exposition, which had already opened. He received US$ 1,000 per month and US$ 1,000 for travel expenses. 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. Rivera's assistants on the mural included Thelma Johnson Streat ,

2418-836: 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). 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 ( Fertile Land in English) in

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2496-725: 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. My Life, My Art: An Autobiography , by Diego Rivera, with Gladys March,

2574-746: The New York City, New York Public Library under sponsorship of the Oregon Federation of Colored Women and the Harmon Foundation . In 1938, she moved to San Francisco where she participated in Works Progress Administration projects. Streat was also included in exhibitions at the De Young Memorial Museum and San Francisco Museum of Art (now the San Francisco Museum of Modern Art ). In 1939 until 1940, she assisted artist Diego Rivera in

2652-711: The Roberts Family Gallery, which is freely accessible to the public. It will be returned to the college in 2023. Diego Rivera Diego Rivera ( Spanish pronunciation: [ˈdjeɣo riˈβeɾa] ; December 8, 1886 – November 24, 1957) was a prominent Mexican painter. His large frescoes helped establish the mural movement in Mexican and international art. Between 1922 and 1953, Rivera painted murals in, among other places, Mexico City , Chapingo , and Cuernavaca , Mexico; and San Francisco , Detroit , and New York City , United States. In 1931,

2730-564: The SFMOMA's retrospective exhibition on Rivera in 2020. As Judy Bullington argues in her indispensable article on Streat, "the West Coast allowed highly visible indigenous traditions that generated a different kind of regional flavor from which modernists could draw inspiration. Streat’s ability to blend these multiple influences into a modernist mode enabled her to attract the attention of Hollywood arts collectors, to capture headlines across

2808-543: 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. 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

2886-897: The United States and the Rise of Woman in Various Fields of Creative Endeavor through Her Use of the Power of Manmade Machinery' Persons depicted in Section Four include: 'The Creative Culture of North Developing from the Necessity of Making Life Possible in a New and Empty Land' Persons depicted in Section Five include: In the past, people have asserted that Diego's paintings predominantly feature allegorical, figurative figures that potentially conform to societal and historical attributes assigned to women, which would be evidence of

2964-499: The United States, and, in the 1940s and 1950s, even to gain some international recognition." Her work was sometimes controversial. The Los Angeles Times reported that Streat was threatened by the Ku Klux Klan for her painting called "Death of a Negro Sailor", portraying an African-American sailor dying after risking his life abroad to protect the democratic rights he was denied at home. The threat only made Streat believe that

3042-557: The art of the Indian, the Mexican, the Eskimo, with the kind of urge which makes the machine, the invention in the material side of life, which is also an artistic urge, the same urge primarily but in a different form of expression." He later elaborated "American art has to be the result of a conjunction between the creative mechanism of the North and the creative power of the South coming from

3120-408: The art world if this could happen." Patrick Marnham wrote "The colours and many of the details are superb ... Yet there is something unconvincing about the political ideas expressed" in his 1998 biography of Rivera. ... it would have made a wonderful storyboard for a Hollywood feature cartoon — but it does not move us." By 2021, Neal Benezra declared it "Rivera's painterly plea for a kind of unity of

3198-519: The artistic merit in August 1940 but deferred the judgement of appropriate subject matter to the Board of Education. Pflueger announced that Rivera would continue to work on the mural for "at least another week" after the close of GGIE. Rivera completed the mural three months after the close of GGIE, and 32,000 automobiles came to Treasure Island with up to 100,000 visitors to view the completed work on Sunday, December 1. The mayor of San Francisco, surveying

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3276-599: 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. Although commissioned to paint a mural for the Red Army Club in Moscow, in 1928 Rivera was ordered by authorities to leave

3354-521: The circle in her painting Homage to Friends from Montparnasse (1962). 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. 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

3432-610: The college in June 1942, next to the men's gym. Emmy Lou Packard, Rivera's primary assistant on the mural, examined the damage but did not repair it at the time, instead choosing to wait for the installation of the mural in the library. However, with the start of the Second World War , the construction of the library was postponed to save materiel for wartime manufacturing, and after Pflueger's death in 1945, shelved indefinitely. After Milton Pflueger (the younger brother of Timothy)

3510-742: The contributions of African-Americans at work in a laboratory and industrial settings. The Mills College Art Museum in Oakland, California also possesses a children's book illustration by Streat titled Robot. People who have owned Streat's work include actor Vincent Price , singer Roland Hayes , artist Diego Rivera , actress Fanny Brice , dancer Katherine Dunham , and actress Paulette Goddard . Her paintings have appeared in exhibits at museums and galleries including: Similar to her contemporary and acquaintance Katherine Dunham , Streat traveled to Haiti between 1946 and 1951 to study dance, which she saw as an important inspiration of social change and

3588-466: The country because, he suspected, of "resentment on the part of certain Soviet artists." 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

3666-555: The creation of the Pan American Unity mural, for the Art in Action exhibition at Treasure Island's Golden Gate International Exposition (GGIE). A portrait of Streat, just one of Rivera's many friends depicted in the mural, can be seen at City College of San Francisco (CCSF) in the Diego Rivera Theatre located at CCSF's Ocean Campus. The mural is currently undergoing restoration and will be featured in

3744-467: The crowd, quipped "This Rivera is more popular than Wendell Willkie ." The San Francisco Arts Commission accepted the mural in January 1941. After its showing in early December, the mural was crated and stored on Treasure Island. While in storage, the de Young Museum declined to take the mural in 1941, as it was too large to move conventionally; the US$ 4,800 (equivalent to $ 100,000 in 2023) cost to lower

3822-761: The development of bigotry, throughout the 1940s and 50s, Streat performed dances, songs, and folk tales from many cultures to thousands of children across Europe, Canada, Mexico, and the United States in an effort to introduce them to the beauty and value of all cultures. In 1945, Streat chaired a committee in Chicago to sponsor murals as part of a "Negro in Labor" education movement. Between 1948 and 1950, Streat moved to Hawaii with her second husband Edgar Kline, and they founded Children's City of Hawaii and New School of Expression in Punaluu, Oahu to introduce children to art and to

3900-460: The female figures are looking varies — some meet the viewer’s gaze with confidence, while others are engrossed in their activities, creating a nuanced interplay between agency and objectification. During the completion of the mural in November 1940, the editorial board of the Madera Times opined "There will be many who view the work who will wonder why, after it is placed in storage, it is not permitted to remain there. There would be no great loss to

3978-473: The government sponsored Mexican mural program planned by Vasconcelos. See also Mexican muralism . The program included such Mexican artists as José Clemente Orozco , David Alfaro Siqueiros , and Rufino Tamayo , and the French artist Jean Charlot . In January 1922, he painted – experimentally in encaustic – his first significant mural Creation in the Bolívar Auditorium of the National Preparatory School in Mexico City while guarding himself with

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4056-414: 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 . 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

4134-545: 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." From the age of ten, Rivera studied art at the Academy of San Carlos in Mexico City . He was sponsored to continue study in Europe by Teodoro A. Dehesa Méndez , the governor of the State of Veracruz . After arriving in Europe in 1907, Rivera first went to Madrid, Spain to study with Eduardo Chicharro . From there he went to Paris , France,

4212-465: 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

4290-433: The mural as-completed would be mounted on the south wall of the library's reading room, and Rivera intended to return once the library was complete to add murals to the west and east walls. Both the San Francisco Art Commission and Board of Education received protests over the mural's content before its completion, primarily because of the included caricatures of Adolf Hitler and Benito Mussolini . The Art Commission approved

4368-422: The mural. 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. As a result of the negative publicity, officials in Chicago cancelled their commission for Rivera to paint a mural for the Chicago World's Fair . Rivera issued a press statement, saying that he would use

4446-444: The mural. The mural was created on 10 robust steel-framed panels bolted together and weighing about 23 short tons (21 t) in total. It was deliberately designed to be portable, as it would have to be moved to the college campus from Treasure Island after completion, and others have speculated Rivera made it portable after the destruction of Man at the Crossroads . At 22 ft × 74 ft (6.7 m × 22.6 m), it

4524-415: 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. The mural was slightly damaged in an earthquake, but has since been repaired and touched up, remaining in pristine form. In the autumn of 1927, Rivera went to Moscow , Soviet Union, having accepted a government invitation to take part in

4602-411: The panels through a skylight was cited as the reason to decline it. That year, while extinguishing a hangar fire on Treasure Island, one of the crates was pierced by a fireman's axe, leaving a 20 in (510 mm) gash near the portrait of Sarah Gerstel in Section 5. Pflueger wrote to Rivera, who offered to repair the damage, but he never had the opportunity. The crated pieces were moved into storage at

4680-426: The piece, as given by Rivera is Unión de la Expresión Artistica del Norte y Sur de este Continente (The Marriage of the Artistic Expression of the North and of the South on this Continent) , but it is more commonly referred to as Pan American Unity . During a 1940 interview Diego Rivera was quoted as saying, "I believe in order to make an American art, a real American art, this will be necessary, this blending of

4758-412: 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. In December 1933, Rivera returned to Mexico. He repainted Man at

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4836-410: The time, the Mexican Communist Party excluded persons involved in Freemasonry , and regarded AMORC as suspiciously similar to Freemasonry. 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

4914-399: The traditional deep-rooted Southern Indian forms." Rivera felt that artists in North America should be inspired by New World native arts, especially as Europe was plunging back into war; Roland J. McKinney was quoted as saying "If Europe blows up and destroys its cultural heritage, the Americas can turn for inspiration to their own, indigenous art, the art that predates Columbus." The imagery is

4992-447: The union between north and south. It is echoed throughout the section in the depiction of the modern carver (Carter) eschewing motorized tools for hand axes, in Kahlo looking for inspiration in native traditions (and dressed in native clothes), and in the symbolic joining of Rivera (from Mexico) and Goddard (from America) holding the "Tree of Life and Love" together. Persons depicted in Section Three include: 'Trends of Creative Effort in

5070-449: 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

5148-412: The value of cultural diversity. A second Children's City school was founded on Salt Spring Island in British Columbia, Canada in 1956. She married Romaine Virgil Streat in 1935, and they divorced in 1948. Streat continued to use her married name for professional purposes. Later that year, she married John Edgar Kline, her manager and a playwright and producer of both theatre and film. Streat died of

5226-623: The walls of the house, his parents installed chalkboards and canvas on the walls to encourage him. 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. 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

5304-407: 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

5382-419: 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". This claim has been considered factually suspect or an elaborate lie. He wrote in his autobiography: "I believe that when man evolves

5460-424: 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. 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

5538-447: 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. His twin brother Carlos died two years after they were born. 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). Rivera wrote in 1935: "My Jewishness

5616-422: Was designed with a four-story atrium to hold the mural, but it was not moved amid concerns of potential damage. In 1999, a Getty Conservation Institute expert chided college personnel to consider the next two hundred years, and the artist's daughter, Guadalupe Rivera Marín challenged CCSF to construct a building dedicated to the mural. A conceptual building was designed by Jim Diaz of KMD Architects in 2012 to house

5694-399: Was even a panel on the contributions of Black women. Streat's work often portrayed important figures in history. Along with images of well-known Americans like Frank Lloyd Wright , she painted a series of portraits of famous people of African ancestry, including concert singer Marian Anderson , singer/actor/activist Paul Robeson , Toussaint Louverture , and Harriet Tubman , and more. As

5772-513: Was given the commission to design the CCSF campus theater in 1957, he proposed his initial design for the theater lobby should be expanded to accommodate the mural in the new facility. Emmy Lou Packard returned to repair the damage after the theater was completed in 1961, and Mona Hoffman, another one of Rivera's assistants on the original work was unable to distinguish the repair, to Packard's delight. The current library at CCSF, which opened in 1995,

5850-613: Was partially of Cherokee heritage. Her family moved to Portland, Oregon when she was a young child. In 1932, she graduated from Washington High School . She began painting at the age of seven and studied art at the Museum Art School (now Pacific Northwest College of Art) in Portland from 1934 to 1935. She took additional art courses at the University of Oregon from 1935 to 1936. The work of Thelma Johnson Streat

5928-608: 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. Thelma Johnson Streat Thelma Johnson was born August 29, 1911, in Yakima , a small agricultural town in Washington State, to artist James Johnson, and his wife Gertrude. She

6006-713: Was purchased by Alfred Barr for MoMA in 1942. Streat was the first African-American woman to have a painting included in MoMA's permanent collection. Streat's work was added to the permanent collection of the Smithsonian when they purchased the mural Medicine and Transportation in 2016, which resides in the National Museum of African American History & Culture in Washington, D.C. Streat painted Medicine and Transportation between 1942 and 1944, which features

6084-477: 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

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