mur du sud, archétypes des races européennes et asiatiques, peintures murales de l'industrie de Detroit (1932–1933), fresques de Diego Rivera, Detroit Institute of Art, États-Unis
7948 x 2275 px | 67,3 x 19,3 cm | 26,5 x 7,6 inches | 300dpi
Date de la prise de vue:
21 avril 2022
Lieu:
Detroit Institute of Arts, Detroit, Michigan, USA
Informations supplémentaires:
On the north and south walls sit four female sentries, each an archetype of one of the four races: European, Asian, African and Native American. Each woman holds an essential element of the earth in her hand: iron, coal, limestone and sand (all four of these elements go into the making of steel). The Detroit Industry Murals (1932–1933) are a series of frescoes by the Mexican artist Diego Rivera, consisting of twenty-seven panels depicting industry at the Ford Motor Company and in Detroit. Together they surround the interior Rivera Court in the Detroit Institute of Arts. Painted between 1932 and 1933, they were considered by Rivera to be his most successful work. On 23 April 2014, the Detroit Industry Murals were designated by the Department of Interior as a National Historic Landmark. The two main panels on the North and South walls depict laborers working at Ford Motor Company's River Rouge Plant. Other panels depict advances made in various scientific fields, such as medicine and new technology. The series of murals, taken as a whole, expresses the idea that all actions and ideas are one. In 1932, Wilhelm Valentiner, director of the Detroit Institute of Art, commissioned Mexican artist Diego Rivera to paint 27 fresco murals depicting the industries of Detroit in the interior courtyard of the museum. Rivera was chosen for the project because he had just completed a mural at the California School of Fine Arts (now the San Francisco Art Institute) that displayed his painterly ability as well as his interest in the modern industrial culture of the United States. As outlined in the terms of the commission , the DIA agreed to pay all expenses toward materials, while Rivera would pay his assistants from his artist's fee. Edsel Ford contributed $20, 000 to make the commission possible.
