Palabras clave
Diego Rivera;
Rockefeller Center
Diego Rivera
CentePartido Comunista de USA
trotskyismo
lovestoneistas
Rockefeller Center
Diego Rivera
CentePartido Comunista de USA
trotskyismo
lovestoneistas
Cómo citar
Zumoff, Jacob A. 2022. «Between a Rockefeller and a Hard Place: Diego Rivera’s Man at the Crossroads and the Left in the 1930s». Anales Del Instituto De Investigaciones Estéticas 44 (121):219-62. https://doi.org/10.22201/iie.18703062e.2022.121.2803.
Resumen
In 1933, Diego Rivera began painting Man at the Crossroads, a mural at Rockefeller Center in New York City. After Rivera included a portrait of Bolshevik Revolutionary Vladimir Lenin, and refused Nelson Rockerfeller’s demand to remove this, the mural was first covered up, and then in February 1934, destroyed. That same year, Rivera painted a refashioned mural, Hombre, el controlador del universo, at the Palacio de Belles Artes in Mexico City. The current article examines this con-
troversy through the lens of Rivera’s relationship with the Communist left, in particular the pro-Moscow Communist Party, the Trotskyist Communist League of America, and the Lovestoneite Communist Party (Opposition), and argues that this provides a fuller understanding of Rivera’s evolving political commitments and the changing politics of his paintings in this period.
Citas
Articles and Books
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Archival Sources
Broadside Collection, New-York Historical Society, New York City.
James P. Cannon Papers, Wisconsin Historical Society, Madison, Wisconsin.
International Center for the Arts of the Americas, Museum of Fine Arts in Houston, Online Collection on Latin American Art. https://icaa.mfah.org.
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Rockefeller Center Archives, Rockefeller Center, New York City.
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Frente a Frente (Mexico City), 1934.
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People’s Daily World (New York), 1988.
Times Union (Brooklyn), 1933.
Workers Age (New York), 1932-1934
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