Diego Rivera in San Francisco - Revision history

Ccarlsson: upgraded photo

2018-09-12T21:57:31Z

upgraded photo

← Older revision		Revision as of 14:57, 12 September 2018
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	''by Masha Zakheim''		''by Masha Zakheim''

	[[Image:~~art1$the~~-~~making~~-~~of-a-fresco~~.jpg]]		[[Image:Diego-at-SFAI 20180907 190006.jpg]]

	'''Diego Rivera contemplates The Worker in the center of his 1930's mural at the SF Art Institute.'''		'''Diego Rivera contemplates The Worker in the center of his 1930's mural at the SF Art Institute.'''

Ccarlsson: added link

2018-05-10T21:26:12Z

added link

← Older revision		Revision as of 14:26, 10 May 2018
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	[[Image:Pele-with-diego-frieda-etc.jpg]]		[[Image:Pele-with-diego-frieda-etc.jpg]]

	'''Pele de Lappe (2nd from left) with Diego Rivera, Frida Rivera (Kahlo) and other friends, c. 1930s.'''		'''Pele de Lappe (2nd from left) with Diego Rivera, [[Frida Kahlo Rediscovered in San Francisco\|Frida Rivera (Kahlo)]] and other friends, c. 1930s.'''

	'''THE FRESCO TECHNIQUE '''		'''THE FRESCO TECHNIQUE '''

Ccarlsson: typo

2018-05-10T21:16:33Z

typo

← Older revision		Revision as of 14:16, 10 May 2018
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	<iframe src="https://archive.org/embed/pele-frieda" width="640" height="480" frameborder="0" webkitallowfullscreen="true" mozallowfullscreen="true" allowfullscreen></iframe>		<iframe src="https://archive.org/embed/pele-frieda" width="640" height="480" frameborder="0" webkitallowfullscreen="true" mozallowfullscreen="true" allowfullscreen></iframe>

	'''Pele de Lappe describes working with ~~Frieda~~ Rivera'''		'''Pele de Lappe describes working with Frida Rivera'''

	''interview by Chris Carlsson''		''interview by Chris Carlsson''

Ccarlsson: upgraded video code

2014-04-06T19:26:55Z

upgraded video code

← Older revision		Revision as of 12:26, 6 April 2014
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	''from Diego Rivera en San Francisco © 1998 Circulo de Arte''		''from Diego Rivera en San Francisco © 1998 Circulo de Arte''

	<~~embed type="application/x-shockwave-flash" width="640" height="504" allowfullscreen="true" allowscriptaccess="always"~~ src="~~http~~://~~www.~~archive.org/~~flow~~/~~flowplayer.commercial~~-~~3.0.5.swf~~" ~~w3c~~="~~true~~" ~~flashvars~~=~~'config={~~"~~key~~":"~~#$b6eb72a0f2f1e29f3d4",~~"~~playlist":[{"url":"http://www.archive.org/download/pele-frieda/format~~=~~Thumbnail?.jpg","autoPlay~~":true,"~~scaling~~"~~:"fit"},{"url":"http://www.archive.org/download/pele-frieda/PeleDelappe_512kb.mp4","autoPlay":false,"accelerated":~~true,"scaling":"fit","provider":"h264streaming"}],"clip":{"autoPlay":false,"accelerated":true,"scaling":"fit","provider":"h264streaming"},"canvas":{"backgroundColor":"0x000000","backgroundGradient":"none"},"plugins":{"audio":{"url":"http://www.archive.org/flow/flowplayer.audio-3.0.3-dev.swf"},"controls":{"playlist":false,"fullscreen":true,"gloss":"high","backgroundColor":"0x000000","backgroundGradient":"medium","sliderColor":"0x777777","progressColor":"0x777777","timeColor":"0xeeeeee","durationColor":"0x01DAFF","buttonColor":"0x333333","buttonOverColor":"0x505050"},"h264streaming":{"url":"http://www.archive.org/flow/flowplayer.h264streaming-3.0.5.swf"}},"contextMenu":[{"Item pele-frieda at archive.org":"function()"},"-","Flowplayer 3.0.5"]}'> </~~embed~~>		<iframe src="https://archive.org/embed/pele-frieda" width="640" height="480" frameborder="0" webkitallowfullscreen="true" mozallowfullscreen="true" allowfullscreen></iframe>

	'''Pele de Lappe describes working with Frieda Rivera'''		'''Pele de Lappe describes working with Frieda Rivera'''

Ccarlsson: added link

2011-07-31T07:24:10Z

added link

← Older revision		Revision as of 00:24, 31 July 2011
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	... [To] my surprise, I could not take my eyes off of it, and in the course of a few days, my reaction to the picture changed completely. The seeming simplicity of the construction proved to come from a skill I had not at first suspected. The colors began to seem right, and possessed of a quiet inevitability. I began to feel that what I had taken for a crude daub had more power and beauty than any other of my pictures. Without having seen Rivera's murals I began to share Stackpole's excited enthusiasm. When he began to tell me of those walls in Mexico, I agreed with him that we must try to arrange for the Mexican to paint in San Francisco. (3)		... [To] my surprise, I could not take my eyes off of it, and in the course of a few days, my reaction to the picture changed completely. The seeming simplicity of the construction proved to come from a skill I had not at first suspected. The colors began to seem right, and possessed of a quiet inevitability. I began to feel that what I had taken for a crude daub had more power and beauty than any other of my pictures. Without having seen Rivera's murals I began to share Stackpole's excited enthusiasm. When he began to tell me of those walls in Mexico, I agreed with him that we must try to arrange for the Mexican to paint in San Francisco. (3)

	Donating $1500 for a small mural on a wall at the California School of Fine Arts (SF Art Institute), Gerstle hoped Rivera would come soon to paint. But Rivera was still under contract for large murals in Mexico City. It would be four years until he actually came to San Francisco, and then he would paint for Timothy Pflueger (under contract for $2500) at the Stock Exchange, thanks to the efforts of Ralph Stackpole, whom Pflueger had commissioned for several sculptures at that site. However, the United States State Department denied this "Mexican Communist" a six-month visa for residing in the United States while painting the project, whereas his own comrades were reviling him as an American imperialist lackey and cohort of millionaire patrons like US Ambassador Dwight Morrow, under whose commission Rivera had painted murals at the Palace of Cortes in Cuernavaca in 1929. Luckily, art patron Albert Bender, an insurance broker who had been buying Rivera easel art, was able to persuade the State Department to reverse their visa restriction. Thus, Diego Rivera came to San Francisco in September 1930 with his charismatic artist wife Frida Kahlo, to be wined, dined, and feted, and to begin work for Timothy Pflueger on the Stock Exchange fresco. Both his energy and the mystique of fresco as a genre so intrigued the local art community that four years later a group of enthusiastic painters had a chance to experience for themselves the magnetism of muralism at [[Coit Tower Politics \| Coit Tower]]. Several from that group went on to other walls; two in particular have left a large public legacy in San Francisco: Bernard Zakheim at the University of California Medical Center and Lucien Labaudt at the [[Labaudt's Inspirational Beach Chalet Murals \| Beach Chalet]].		Donating $1500 for a small mural on a wall at the California School of Fine Arts (SF Art Institute), Gerstle hoped Rivera would come soon to paint. But Rivera was still under contract for large murals in Mexico City. It would be four years until he actually came to San Francisco, and then he would paint for Timothy Pflueger (under contract for $2500) at the Stock Exchange, thanks to the efforts of Ralph Stackpole, whom Pflueger had commissioned for several sculptures at that site. However, the United States State Department denied this "Mexican Communist" a six-month visa for residing in the United States while painting the project, whereas his own comrades were reviling him as an American imperialist lackey and cohort of millionaire patrons like US Ambassador Dwight Morrow, under whose commission Rivera had painted murals at the Palace of Cortes in Cuernavaca in 1929. Luckily, art patron Albert Bender, an insurance broker who had been buying Rivera easel art, was able to persuade the State Department to reverse their visa restriction. Thus, Diego Rivera came to San Francisco in September 1930 with his charismatic artist wife Frida Kahlo, to be wined, dined, and feted, and to begin work for Timothy Pflueger on the Stock Exchange fresco. Both his energy and the mystique of fresco as a genre so intrigued the local art community that four years later a group of enthusiastic painters had a chance to experience for themselves the magnetism of muralism at [[Coit Tower Politics \| Coit Tower]]. Several from that group went on to other walls; two in particular have left a large public legacy in San Francisco: Bernard Zakheim at the University of California Medical Center and [[The WPA – The Stimulus Package of Its Day\|Lucien Labaudt]] at the [[Labaudt's Inspirational Beach Chalet Murals \| Beach Chalet]].

	[[Image:Pele-with-diego-frieda-etc.jpg]]		[[Image:Pele-with-diego-frieda-etc.jpg]]

Ccarlsson: full embed code from Internet Archive for video

2009-10-05T23:09:42Z

full embed code from Internet Archive for video

← Older revision		Revision as of 16:09, 5 October 2009
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	''from Diego Rivera en San Francisco © 1998 Circulo de Arte''		''from Diego Rivera en San Francisco © 1998 Circulo de Arte''

	{{~~#ev~~:archive\|pele-frieda~~\|640~~}}		<embed type="application/x-shockwave-flash" width="640" height="504" allowfullscreen="true" allowscriptaccess="always" src="http://www.archive.org/flow/flowplayer.commercial-3.0.5.swf" w3c="true" flashvars='config={"key":"#$b6eb72a0f2f1e29f3d4","playlist":[{"url":"http://www.archive.org/download/pele-frieda/format=Thumbnail?.jpg","autoPlay":true,"scaling":"fit"},{"url":"http://www.archive.org/download/pele-frieda/PeleDelappe_512kb.mp4","autoPlay":false,"accelerated":true,"scaling":"fit","provider":"h264streaming"}],"clip":{"autoPlay":false,"accelerated":true,"scaling":"fit","provider":"h264streaming"},"canvas":{"backgroundColor":"0x000000","backgroundGradient":"none"},"plugins":{"audio":{"url":"http://www.archive.org/flow/flowplayer.audio-3.0.3-dev.swf"},"controls":{"playlist":false,"fullscreen":true,"gloss":"high","backgroundColor":"0x000000","backgroundGradient":"medium","sliderColor":"0x777777","progressColor":"0x777777","timeColor":"0xeeeeee","durationColor":"0x01DAFF","buttonColor":"0x333333","buttonOverColor":"0x505050"},"h264streaming":{"url":"http://www.archive.org/flow/flowplayer.h264streaming-3.0.5.swf"}},"contextMenu":[{"Item pele-frieda at archive.org":"function()"},"-","Flowplayer 3.0.5"]}'> </embed>

	'''Pele de Lappe describes working with Frieda Rivera'''		'''Pele de Lappe describes working with Frieda Rivera'''

Ccarlsson: added embedded video

2009-08-01T21:45:07Z

added embedded video

← Older revision		Revision as of 14:45, 1 August 2009
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	''from Diego Rivera en San Francisco © 1998 Circulo de Arte''		''from Diego Rivera en San Francisco © 1998 Circulo de Arte''

	~~video~~: ~~[http://www.~~archive~~.org/details/~~pele-frieda '''Pele de Lappe describes working with Frieda Rivera'''~~] <br>~~''interview by Chris Carlsson''		{{#ev:archive\|pele-frieda\|640}}

			'''Pele de Lappe describes working with Frieda Rivera'''

			''interview by Chris Carlsson''

Lisaruth at 06:30, 18 January 2009

2009-01-18T06:30:10Z

← Older revision		Revision as of 23:30, 17 January 2009
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	[[Image:Art1$rivera-portrait.jpg]]		[[Image:Art1$rivera-portrait.jpg]]

			'''Portrait of Diego Rivera'''

	Maynard Dixon -- well known painter of historical murals and Southwestern landscapes--said in print:		Maynard Dixon -- well known painter of historical murals and Southwestern landscapes--said in print:
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	Donating $1500 for a small mural on a wall at the California School of Fine Arts (SF Art Institute), Gerstle hoped Rivera would come soon to paint. But Rivera was still under contract for large murals in Mexico City. It would be four years until he actually came to San Francisco, and then he would paint for Timothy Pflueger (under contract for $2500) at the Stock Exchange, thanks to the efforts of Ralph Stackpole, whom Pflueger had commissioned for several sculptures at that site. However, the United States State Department denied this "Mexican Communist" a six-month visa for residing in the United States while painting the project, whereas his own comrades were reviling him as an American imperialist lackey and cohort of millionaire patrons like US Ambassador Dwight Morrow, under whose commission Rivera had painted murals at the Palace of Cortes in Cuernavaca in 1929. Luckily, art patron Albert Bender, an insurance broker who had been buying Rivera easel art, was able to persuade the State Department to reverse their visa restriction. Thus, Diego Rivera came to San Francisco in September 1930 with his charismatic artist wife Frida Kahlo, to be wined, dined, and feted, and to begin work for Timothy Pflueger on the Stock Exchange fresco. Both his energy and the mystique of fresco as a genre so intrigued the local art community that four years later a group of enthusiastic painters had a chance to experience for themselves the magnetism of muralism at [[Coit Tower Politics \| Coit Tower]]. Several from that group went on to other walls; two in particular have left a large public legacy in San Francisco: Bernard Zakheim at the University of California Medical Center and Lucien Labaudt at the [[Labaudt's Inspirational Beach Chalet Murals \| Beach Chalet]].		Donating $1500 for a small mural on a wall at the California School of Fine Arts (SF Art Institute), Gerstle hoped Rivera would come soon to paint. But Rivera was still under contract for large murals in Mexico City. It would be four years until he actually came to San Francisco, and then he would paint for Timothy Pflueger (under contract for $2500) at the Stock Exchange, thanks to the efforts of Ralph Stackpole, whom Pflueger had commissioned for several sculptures at that site. However, the United States State Department denied this "Mexican Communist" a six-month visa for residing in the United States while painting the project, whereas his own comrades were reviling him as an American imperialist lackey and cohort of millionaire patrons like US Ambassador Dwight Morrow, under whose commission Rivera had painted murals at the Palace of Cortes in Cuernavaca in 1929. Luckily, art patron Albert Bender, an insurance broker who had been buying Rivera easel art, was able to persuade the State Department to reverse their visa restriction. Thus, Diego Rivera came to San Francisco in September 1930 with his charismatic artist wife Frida Kahlo, to be wined, dined, and feted, and to begin work for Timothy Pflueger on the Stock Exchange fresco. Both his energy and the mystique of fresco as a genre so intrigued the local art community that four years later a group of enthusiastic painters had a chance to experience for themselves the magnetism of muralism at [[Coit Tower Politics \| Coit Tower]]. Several from that group went on to other walls; two in particular have left a large public legacy in San Francisco: Bernard Zakheim at the University of California Medical Center and Lucien Labaudt at the [[Labaudt's Inspirational Beach Chalet Murals \| Beach Chalet]].

			[[Image:Pele-with-diego-frieda-etc.jpg]]

			'''Pele de Lappe (2nd from left) with Diego Rivera, Frida Rivera (Kahlo) and other friends, c. 1930s.'''

	'''THE FRESCO TECHNIQUE '''		'''THE FRESCO TECHNIQUE '''
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	The fresco technique requires both concentration and spontaneity. Although the artist usually paints ground-up earth color pigments following the outlines of a cartoon previously applied directly to the wet plastered wall, the wall itself has had to have been be properly prepared. The plasterer usually arrives very early on the morning of the day that painting begins (''giornate'' is one day's work) in order to apply a thin layer of plaster over the charcoal design--roughly about a two-foot square area conforming to design elements of the cartoon. The artist, using a small brush (Rivera liked Japanese calligraphy brushes, according to Coit Tower frescoist Edward Terada) applies the earth pigments in small strokes, usually over a black wash base to insure uniformity of color intensity. When the plaster dries, the color particles are suspended on the surface; the completed fresco retains its bright color scheme for its lifetime, for in the proper physical environment, it neither fades nor chips off. If left unmolested, the colors become even more beautiful in time, as the plaster surface develops a "crystal" that intensifies the earth color hues. Thus recently, after restorers have cleaned off the incense smoke and grime of several centuries, Michelangelo's frescoes in the Sistine Chapel in the Vatican seem brighter today than anyone ever expected.		The fresco technique requires both concentration and spontaneity. Although the artist usually paints ground-up earth color pigments following the outlines of a cartoon previously applied directly to the wet plastered wall, the wall itself has had to have been be properly prepared. The plasterer usually arrives very early on the morning of the day that painting begins (''giornate'' is one day's work) in order to apply a thin layer of plaster over the charcoal design--roughly about a two-foot square area conforming to design elements of the cartoon. The artist, using a small brush (Rivera liked Japanese calligraphy brushes, according to Coit Tower frescoist Edward Terada) applies the earth pigments in small strokes, usually over a black wash base to insure uniformity of color intensity. When the plaster dries, the color particles are suspended on the surface; the completed fresco retains its bright color scheme for its lifetime, for in the proper physical environment, it neither fades nor chips off. If left unmolested, the colors become even more beautiful in time, as the plaster surface develops a "crystal" that intensifies the earth color hues. Thus recently, after restorers have cleaned off the incense smoke and grime of several centuries, Michelangelo's frescoes in the Sistine Chapel in the Vatican seem brighter today than anyone ever expected.

	''~~--Masha Zakheim,~~ from Diego Rivera en San Francisco © 1998 Circulo de Arte''		''from Diego Rivera en San Francisco © 1998 Circulo de Arte''

	video: [http://www.archive.org/details/pele-frieda '''Pele de Lappe describes working with Frieda Rivera'''] <br>''interview by Chris Carlsson''		video: [http://www.archive.org/details/pele-frieda '''Pele de Lappe describes working with Frieda Rivera'''] <br>''interview by Chris Carlsson''

	~~[[Image:Pele-with-diego-frieda-etc.jpg]]~~

	~~'''Pele de Lappe (2nd from left) with Diego Rivera, Frieda Rivera (Kahlo) and other friends, c. 1930s.'''~~

Ccarlsson at 08:09, 4 January 2009

2009-01-04T08:09:00Z

← Older revision		Revision as of 01:09, 4 January 2009
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	''--Masha Zakheim, from Diego Rivera en San Francisco © 1998 Circulo de Arte''		''--Masha Zakheim, from Diego Rivera en San Francisco © 1998 Circulo de Arte''

	~~{{#ev~~:archive\|pele-frieda~~\|320}}~~		video: [http://www.archive.org/details/pele-frieda '''Pele de Lappe describes working with Frieda Rivera'''] <br>''interview by Chris Carlsson''

	~~video:~~ '''Pele de Lappe describes working with Frieda Rivera'''<br>''interview by Chris Carlsson''

	[[Image:Pele-with-diego-frieda-etc.jpg]]		[[Image:Pele-with-diego-frieda-etc.jpg]]

Ccarlsson: Protected "Diego Rivera in San Francisco": excerpted essay [edit=sysop:move=sysop]

2009-01-04T08:06:22Z

Protected "Diego Rivera in San Francisco": excerpted essay [edit=sysop:move=sysop]

← Older revision	Revision as of 01:06, 4 January 2009
(No difference)