In 1931, Diego Rivera was the subject of The Museum of Modern
Art s second monographic exhibition, which set new attendance
records in its five-week run. The Museum brought Rivera to New York
six weeks before the show s opening and gave him on-site studio
space. There he produced five "portable murals" --large blocks of
frescoed plaster, slaked lime and wood that feature bold images
drawn from Mexican subject matter and address themes of revolution
and class inequity. After the opening, to great publicity, Rivera
added three more murals, now taking on New York subjects through
monumental images of the urban working class and the city during
the Great Depression. Published in conjunction with an exhibition
that brings together key works made for Rivera s 1931 show, this
catalogue casts the artist as a highly cosmopolitan figure who
traveled between Russia, Mexico and the United States and examines
the intersection of artmaking and radical politics in the 1930s.
Illustrated with reproductions of each panel as well as related
paintings, drawings, prints and documentary photographs, the book s
essays investigate the international politics of muralism, Rivera s
history with MoMA, the iconography of the portable murals and
technical aspects of the artist s working process.Diego Rivera
1886-1957 was a central figure in the development of Mexican
muralism, an ambitious public art initiative intended to relay
Mexico s ideals after the Revolution 1910-1920. A highly
cosmopolitan artist, Rivera had spent many years in Europe before
returning to Mexico in 1921, and in 1927 he traveled to the Soviet
Union where he met Alfred Barr, the soon-to-be founding director of
The Museum of Modern Art, New York. Rivera s artistic celebrity
benefitted from major commissions in the United States, including
murals for the Pacific Stock Exchange, the California School of
Fine Arts in San Francisco, MoMA and the Detroit Institute of Arts.
By the 1930s, he enjoyed an unrivaled status at the
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