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Espace Diego Rivera (Lyon) --- muurschilderkunst --- Rivera, Diego --- Lyon

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Rarement exposées ensemble, les oeuvres de Frida Kahlo (1907-1954) et de Diego Rivera (1886-1957) racontent la vie d'un couple mythique, dont la légende a souvent dépassé la réputation artistique. Séparés par une différence d'âge de vingt ans, mariés deux fois, divorcés pendant un an, "l'éléphant et la colombe" (comme les appelaient les parents de Frida) furent incapables de vivre l'un sans l'autre. Leurs oeuvres diffèrent en bien des aspects : tandis que Diego, principal acteur du muralisme dans le Mexique postrévolutionnaire, couvrait des milliers de murs de ses fresques, messages adressés au peuple, Frida peignait de petits tableaux qui racontent sa vie intime. Leur travail n'en est pas moins complémentaire et trouve sa force commune dans la passion qui a caractérisé toute leur existence : passion pour la vie, qui n'a jamais quitté Frida malgré la souffrance causée par un terrible accident de bus, passion pour leur pays, à travers leur engagement politique et leurs références historiques, mythiques et symboliques, mais surtout passion qu'ils éprouvèrent l'un pour l'autre. Au-delà de la "mexicanité", qu'ils ont contribué à forger, leurs tableaux partagent une outrance provocatrice et libératoire, et tous deux surent transformer le personnel en mythe. De son travail de muraliste, incarnant les idéaux de la révolution, évoqué ici à travers ses dessins et des photographies, aux tableaux cubistes créés alors qu'il côtoyait le milieu artistique parisien, des oeuvres inspirées de l'histoire et des traditions mexicaines, Diego Rivera fut un artiste prolifique. On trouve dans son oeuvre un dialogue ininterrompu avec celle de Frida Kahlo, laquelle, sur fond d'évocation de la mythologie du Mexique, peignit ce qu'elle appelait sa "réalité" tragique et révoltée. Elle construisit son image de façon répétitive et quasi obsessionnelle, jusqu'à devenir une icône moderne.

Museo Dolores Olmedo (Mexico City) --- surrealisme --- propaganda --- communisme --- Kahlo, Frida --- Rivera, Diego --- Olmedo, Dolores --- Histoire de la peinture --- Mexique --- Frida Kahlo (1907-1954) --- Diego Rivera (1886-1957) --- Museo Dolores Olmedo (Mexico City). --- surrealisme. --- propaganda. --- communisme. --- Kahlo, Frida. --- Rivera, Diego. --- Olmedo, Dolores.

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Industries in art --- Mural painting and decoration, Mexican --- 75.07 --- Diego Rivera 1886-1957 (° Guanajuato, Mexico) --- Muralisten ; Mexicaanse --- Muurschilderkunst ; 1933 ; Detroit Institute of Arts ; D. Rivera --- Schilderkunst ; Mexico ; 20ste eeuw --- Thema's in de schilderkunst ; industrie --- Mexican mural painting and decoration --- Industry in art --- Themes, motives --- Schilderkunst ; schilders --- Kahlo, Frida. --- Rivera, Diego, --- Rivera Barrientos, Diego María, --- Barrientos, Diego María Rivera, --- ריװערא, דיעגא, --- Kahlo de Rivera, Frida --- Rivera, Frida Kahlo de --- De Rivera, Frida Kahlo --- Khalo, Frida --- Kahlo y Calderón, Magdalena Carmen Frida --- Calderón, Magdalena Carmen Frida Kahlo y --- Calderón, Frida Kahlo --- Kahlo, Frieda --- Кало, Фрида --- קאלו, פרידה --- Criticism and interpretation. --- Rivera, Diego --- Kahlo, Frida

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"This book is the third in a trilogy that looks at the cultural history of Prague in order to tell the larger story of competing notions of European modernity-Reformation and Counter-Reformation, empire and nation, fascism and democracy-as they all played out on a single stage. This volume begins in 1938, when Czechoslovakia was dismembered by the Munich agreement and shortly before the invasion of the Third Reich, and it runs until the present day, when liberal democracy appears to be giving way to right-wing populism (as in much of the world). Like the previous volumes in the series, it sees Prague as a palimpsest of the cultures that overtook it-cultures that aimed to impose their own visions of modernity on the city. In this book, Sayer charts three major "modernities:" the Third Reich's brutal totalitarianism, the shifting face of Soviet communism, and the supposed freedoms of Western capitalist democracy. In Sayer's reading, the Nazis, Soviets, and Western democrats each believed that Prague had reached the end of history, that it had achieved "the final form of human government" (in Fukuyama's words). All were proved spectacularly wrong. As these political movements disintegrated, they returned the city to a state of banal surreality that Czech dissidents in the 1960s dubbed Absurdistan. Putting the notion of Absurdistan at the center of his story, Sayer engages with artists, creators and the things they produced, which unsparingly revealed the absurdity of the "modern" world and its notions of progress. He explores the work of Milan Kundera, Miloš Forman, Václav Havel, and many others lesser known in the Anglophone world. He examines the tradition of vulgar absurdist comedy beginning with Kafka, and he shows how Prague's cultural products have been marked by persistent moral ambiguity, or in Kundera's words, "the intoxicating relativity of human things," since the mid-century. The overarching argument of this book is that, by looking to Prague's cultural history, we can see that modernity has never been a single or stable notion, and as different ideologies of modernity have come head-to-head, they have produced a rich culture of ambiguity and absurdity. We published the first two books in the trilogy, The Coasts of Bohemia: A Czech History (1998), which spanned the 18th to the turn of the 20th century, and Prague, Capital of the Twentieth Century (2013), which looked at modernism and revolutionary thinking in Prague in the first half of the 20th century. Both books did well, and Prague, Capital of the Twentieth Century won the prestigious George L. Mosse Prize for European cultural and intellectual history from the American Historical Association"--

Prague (Czech Republic) --- Civilization --- 1948 Czechoslovak coup d'état. --- Absurdistan. --- Adolf Eichmann. --- Adolf Hitler. --- Allen Ginsberg. --- Anschluss. --- Arid. --- Bankruptcy. --- Bohumil Hrabal. --- Byzantine Empire. --- Cactus. --- Central Committee. --- Charles Darwin. --- Charter 77. --- Closely Watched Trains. --- Colonization. --- Conrad Veidt. --- Constantinople. --- Czechoslovak Hockey Riots. --- Czechoslovakia. --- Czechs. --- Diego Rivera. --- Distant Journey. --- Dora Diamant. --- Ecology. --- Economics. --- Egon Bondy. --- El Niño–Southern Oscillation. --- Endemism. --- Epiphyte. --- Essay. --- Franz Kafka. --- Franz Werfel. --- Geology. --- Germans. --- Gestapo. --- Giant tortoise. --- Gulag. --- Hadrian. --- Heinrich Himmler. --- Heinrich Mann. --- Honza. --- Hussites. --- Iconoclasm. --- Illustration. --- International Students' Day. --- Jan Masaryk. --- Jan Palach. --- Jews. --- Joseph Stalin. --- Karel Gott. --- Karel Teige. --- Karl Marx. --- Kitsch. --- Klement Gottwald. --- Le Corbusier. --- Lecture. --- Libri Carolini. --- Lidice. --- Mangrove. --- Max Brod. --- Milan Kundera. --- Milton Friedman. --- Modernity. --- Money laundering. --- Nazi Party. --- Nazism. --- Newspaper. --- Nikephoros (Caesar). --- Ocean current. --- On the Origin of Species. --- Opuntia. --- Pavel Kohout. --- Physiocracy. --- Poetry. --- Politics. --- Prague Spring. --- Presidium. --- Reinhard Heydrich. --- Samizdat. --- Scalesia. --- Slavery. --- Slovakia. --- Socialist realism. --- South America. --- Soviet Union. --- Sudeten Germans. --- Surrealism. --- Tariff. --- The Book of Laughter and Forgetting. --- The Other Hand. --- The Power of the Powerless. --- The Theory of Moral Sentiments. --- The Voyage of the Beagle. --- The Wealth of Nations. --- V. --- Wealth. --- Wenceslas Square. --- World War II. --- Writing.