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The Polish Nobleman or Man in Exotic Dre Barnard Gratz Cup newspaper and winebottle painting by monet Presentation of Jesus in the Temple dfg image check Crater Lake Nativity Circle The Penitent Magdalene dj James Holland Village girl Sketch for A Mermaid The Studio view A Young Lady The Dead Ptarmigan The Port of Saint-Tropez Portrait of Giuliano de-Medici Puke The Window towards to City Frederic Leighton,Daedalus and Icarus -2 Charles I of England and Henrietta of Fr Copperopolis Delvine Dividend Day at the Bank of England Robbins Portrait of a Singer Portrait of Giuseppe Verdi Philip IV,Standing -df01- Young Girl in a Straw Hat The Governors of the Old Men-s Almshouse Santander Butcher-s Stall -14- The three soldiers Cat Bathing Venus and Adonis Holy Family in a Flower - Fruit Wreath small animal surgery Pieta Portrait en pied de Philippe IV -df02-
Diego Rivera:
Mexican Social Realist Muralist, 1886-1957,Mexican muralist. After study in Mexico City and Spain, he settled in Paris from 1909 to 1919. He briefly espoused Cubism but abandoned it c. 1917 for a visual language of simplified forms and bold areas of colour. He returned to Mexico in 1921, seeking to create a new national art on revolutionary themes in the wake of the Mexican Revolution. He painted many public murals, the most ambitious of which is in the National Palace (1929 ?C 57). From 1930 to 1934 he worked in the U.S. His mural for New York's Rockefeller Center aroused a storm of controversy and was ultimately destroyed because it contained the figure of Vladimir Ilich Lenin; he later reproduced it at the Palace of Fine Arts in Mexico City. With Jose Clemente Orozco and David Alfaro Siqueiros, Rivera created a revival of fresco painting that became Mexico's most significant contribution to 20th-century art. His large-scale didactic murals contain scenes of Mexican history, culture, and industry, with Indians, peasants, conquistadores, and factory workers drawn as simplified figures in crowded, shallow spaces. Rivera was twice married to Frida Kahlo.








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