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RIVERA DIEGO: (1886-1957)
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Beschreibung
RIVERA DIEGO: (1886-1957) Mexican painter. A significant Autograph Manuscript signed, Diego Rivera, thirteen pages (separate leaves, written to the rectos only), 4to, n.p., n.d. (annotated April 1933 in pencil in another hand at the head of the first page), in French. The untitled manuscript relates to one of the artist´s most famous works, the Detroit Industry Murals (1932-33) and states, in part, ´Comme programme pour la decoration du jardin couvert cour centrale du Musee de l´instiut d´Art de Detroit, j´ai choisie comme theme l´expression plastique du mouvement oudulant qui se trouve dans les courants d´eau, les ordes electriques les stratifications des differentes couches du sol de la terre et en general dans le developement continuel de la vie.......Le Musee d´Art d´une ville, et specialement dans le cas de l´institut d´art de la ville de Detroit est on doit etre, la cellule centrale pour le developpement de la culture esthetique de la communaute, pour cela, dans le developement de mon travail je fus ammene a preciser de plus en plus la centralisation de l´ensemble des fresques dans l´expression du germe, peinte sur le mur central face a la porte principale d´acces a la cour. Le germe, un enfant, non un embryon contenu dans l´interieur de l´oignon qui s´enracine dans la terre vegetale acumulee dans la conque d´un ancien lac. Sur des lits de sable couches d´eau et sel et gisements de fer, charbon et pierre de chaux. Realite geologique du sol de Michigan et raison primondiale de l´existance de la vie de Detroit......En dessous de ce panneau et des deux cotes de la porte d´entree, est peinte la representation du generateur de vapeur et son ouvrier mecanicien, et du generateur d´electricite et son ingenieur, la force ouviere et la force creatrice de l´imagination et la connaissance. Combustion, expansion, energie positive et negative, mort pour creer de la vie, vie qui amene la mort, mouvement rithmique en onder continues. Tout en haut, l´aviation, a gauche les contructeurs d´aeroplanes usant de la rondage autogine electrique correspondant a ca un petit panneau du frise montre les tourne-soleils analogues en forme aux moteurs d´avion.......L´effort createur merveilleux des ouviers de toutes les races du monde qu´integrent la population industrielle de Detroit, et qui son expression du caracter international et universel du continent americain, et des Etats Unis aussi, circonstance qui est la plus grande force de l´amerique dans la profondeur de l´avenir historique.......La pierre de chaux est analogisee avec la race blanche et le sable a la jaune par des semblables raisons que le fer a l´indienne et le charbon a la noire.......La "predella" en grisaille contient une serie de petits panneaux qui montrent des operations fabriles complementaires au long d´une journee de travail a gauche les travailleur entrant a l´usine au matin marquant le temps a droite ils sortent du travail, a cette angle a l´extreme de la grande composition ont ete peints les portraits du Docteur William Valentiner que par sa volonte pleine de sympathie et bonte pour l´auteur des peintures etant directeur du Musee, fit possible la commande et de Monsieur Edsel B. Ford qui par la liberalite de son criterium, par son donatif, et des grandes facilites qu´il donnat pour le travail fit possible l´execution des fresques, dont il fit don a la ville de Detroit´. (Translation: ´As a programme for the decoration of the covered garden in the central courtyard of the Detroit Art Institute Museum, I have chosen as my theme the plastic expression of the undulating movement found in the currents of water, the electrical orders, the stratifications of the different layers of the earth's soil and, in general, in the continuous development of life.......A city's art museum, and especially in the case of the Detroit Art Institute, is, or should be, the central unit for the development of the community's aesthetic culture. For this reason, in the development of my work, I was led to specify more and more the centralisation of all the frescoes in the expression of the seed, painted on the central wall opposite the main door leading to the courtyard. The seed, a child, not an embryo contained within the interior of the onion which takes root in the vegetable earth accumulated in the conch of an ancient lake. On beds of sand, layers of water and salt and deposits of iron, coal and limestone. The geological reality of Michigan's soil and the primordial reason for Detroit's existence......Below this panel, on both sides of the entrance door, is painted a representation of the steam generator and its mechanic, and the electricity generator and its engineer, the working and creative forces of imagination and knowledge. Combustion, expansion, positive and negative energy, death to create life, life that brings death, rhythmic movement in continuous waves. At the very top, aviation, on the left the aeroplane builders using the electric auto generator corresponding to this a small panel of the frieze shows the sun turners analogous in shape to the aeroplane engines.......The marvellous creative effort of the workers of all the races of the world who make up the industrial population of Detroit, and which is an expression of the international and universal character of the American continent, and of the United States too, a circumstance which is America's greatest strength in the depths of the historical future.......Limestone is analogous to the white race and sand to the yellow for similar reasons as iron to the Indian and coal to the black.......The ‘predella’ in greyness contains a series of small panels which show complementary manufacturing operations throughout a working day: on the left, the workers enter the factory in the morning marking the time; on the right, they leave work. At this corner, at the extreme of the large composition, are painted the portraits of Dr William Valentiner, who, by his willingness, full of sympathy and kindness for the author of the paintings and director of the Museum, made the commission possible, and of Mr Edsel B. Ford, who, by the liberality of his criterium, his donation, and the great facilities he gave for the work, made possible the execution of the frescoes, which he donated to the city of Detroit´). An important manuscript of fine content. Some very light, extremely minimal age wear and with small staple holes to the upper left corner of each page. VGIn 1932 Wilhelm Valentiner, Director of the Detroit Instiute of Arts, and the American business executive Edsel Ford, commissioned Rivera to create the Detroit Industry Murals, a series of frescoes 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.
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RIVERA DIEGO: (1886-1957) Mexican painter. A significant Autograph Manuscript signed, Diego Rivera, thirteen pages (separate leaves, written to the rectos only), 4to, n.p., n.d. (annotated April 1933 in pencil in another hand at the head of the first page), in French. The untitled manuscript relates to one of the artist´s most famous works, the Detroit Industry Murals (1932-33) and states, in part, ´Comme programme pour la decoration du jardin couvert cour centrale du Musee de l´instiut d´Art de Detroit, j´ai choisie comme theme l´expression plastique du mouvement oudulant qui se trouve dans les courants d´eau, les ordes electriques les stratifications des differentes couches du sol de la terre et en general dans le developement continuel de la vie.......Le Musee d´Art d´une ville, et specialement dans le cas de l´institut d´art de la ville de Detroit est on doit etre, la cellule centrale pour le developpement de la culture esthetique de la communaute, pour cela, dans le developement de mon travail je fus ammene a preciser de plus en plus la centralisation de l´ensemble des fresques dans l´expression du germe, peinte sur le mur central face a la porte principale d´acces a la cour. Le germe, un enfant, non un embryon contenu dans l´interieur de l´oignon qui s´enracine dans la terre vegetale acumulee dans la conque d´un ancien lac. Sur des lits de sable couches d´eau et sel et gisements de fer, charbon et pierre de chaux. Realite geologique du sol de Michigan et raison primondiale de l´existance de la vie de Detroit......En dessous de ce panneau et des deux cotes de la porte d´entree, est peinte la representation du generateur de vapeur et son ouvrier mecanicien, et du generateur d´electricite et son ingenieur, la force ouviere et la force creatrice de l´imagination et la connaissance. Combustion, expansion, energie positive et negative, mort pour creer de la vie, vie qui amene la mort, mouvement rithmique en onder continues. Tout en haut, l´aviation, a gauche les contructeurs d´aeroplanes usant de la rondage autogine electrique correspondant a ca un petit panneau du frise montre les tourne-soleils analogues en forme aux moteurs d´avion.......L´effort createur merveilleux des ouviers de toutes les races du monde qu´integrent la population industrielle de Detroit, et qui son expression du caracter international et universel du continent americain, et des Etats Unis aussi, circonstance qui est la plus grande force de l´amerique dans la profondeur de l´avenir historique.......La pierre de chaux est analogisee avec la race blanche et le sable a la jaune par des semblables raisons que le fer a l´indienne et le charbon a la noire.......La "predella" en grisaille contient une serie de petits panneaux qui montrent des operations fabriles complementaires au long d´une journee de travail a gauche les travailleur entrant a l´usine au matin marquant le temps a droite ils sortent du travail, a cette angle a l´extreme de la grande composition ont ete peints les portraits du Docteur William Valentiner que par sa volonte pleine de sympathie et bonte pour l´auteur des peintures etant directeur du Musee, fit possible la commande et de Monsieur Edsel B. Ford qui par la liberalite de son criterium, par son donatif, et des grandes facilites qu´il donnat pour le travail fit possible l´execution des fresques, dont il fit don a la ville de Detroit´. (Translation: ´As a programme for the decoration of the covered garden in the central courtyard of the Detroit Art Institute Museum, I have chosen as my theme the plastic expression of the undulating movement found in the currents of water, the electrical orders, the stratifications of the different layers of the earth's soil and, in general, in the continuous development of life.......A city's art museum, and especially in the case of the Detroit Art Institute, is, or should be, the central unit for the development of the community's aesthetic culture. For this reason, in the development of my work, I was led to specify more and more the centralisation of all the frescoes in the expression of the seed, painted on the central wall opposite the main door leading to the courtyard. The seed, a child, not an embryo contained within the interior of the onion which takes root in the vegetable earth accumulated in the conch of an ancient lake. On beds of sand, layers of water and salt and deposits of iron, coal and limestone. The geological reality of Michigan's soil and the primordial reason for Detroit's existence......Below this panel, on both sides of the entrance door, is painted a representation of the steam generator and its mechanic, and the electricity generator and its engineer, the working and creative forces of imagination and knowledge. Combustion, expansion, positive and negative energy, death to create life, life that brings death, rhythmic movement in continuous waves. At the very top, aviation, on the left the aeroplane builders using the electric auto generator corresponding to this a small panel of the frieze shows the sun turners analogous in shape to the aeroplane engines.......The marvellous creative effort of the workers of all the races of the world who make up the industrial population of Detroit, and which is an expression of the international and universal character of the American continent, and of the United States too, a circumstance which is America's greatest strength in the depths of the historical future.......Limestone is analogous to the white race and sand to the yellow for similar reasons as iron to the Indian and coal to the black.......The ‘predella’ in greyness contains a series of small panels which show complementary manufacturing operations throughout a working day: on the left, the workers enter the factory in the morning marking the time; on the right, they leave work. At this corner, at the extreme of the large composition, are painted the portraits of Dr William Valentiner, who, by his willingness, full of sympathy and kindness for the author of the paintings and director of the Museum, made the commission possible, and of Mr Edsel B. Ford, who, by the liberality of his criterium, his donation, and the great facilities he gave for the work, made possible the execution of the frescoes, which he donated to the city of Detroit´). An important manuscript of fine content. Some very light, extremely minimal age wear and with small staple holes to the upper left corner of each page. VGIn 1932 Wilhelm Valentiner, Director of the Detroit Instiute of Arts, and the American business executive Edsel Ford, commissioned Rivera to create the Detroit Industry Murals, a series of frescoes 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.
AUTOGRAPH LETTERS, MANUSCRIPTS & HISTORICAL DOCUMENTS AUCTION
Auktionsdatum
Lose: 600
Lose: 550
Lose: 520
Ort der Versteigerung
El Real del Campanario
num.12 Bajo B
Estepona
Malaga
29688
Spain
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