Look Closely At Diego Rivera’s Fresco Liberation Of The Peon

Look Closely At Diego Rivera’s Frescoliberation Of The Peon1931 F

1. Look closely at Diego Rivera’s fresco Liberation of the Peon (1931; figure 34.7). Rivera was one of the three Mexican artists whom the government commissioned after the Mexican Revolution to paint murals focused on Mexican history. After reading the information in your textbook plus additional reputable online texts on the artist as well as the Mexican Revolution, describe the fresco in detail and explain its role as an educational tool for the people (minimum of 75 words).

2. The 20th century and modern art are characterized by an expansion of art media. One of the foremost and most influential media of the 20th century is film. On YouTube, please watch the final speech of Charlie Chaplin’s character in The Great Dictator (1940; about 4.4 minutes), and then watch the first 10 minutes of Leni Riefenstahl’s Triumph of the Will (1934). BEFORE WATCHING BOTH CLIPS and BEFORE WRITING YOUR RESPONSE to this assignment, you are REQUIRED to read the information in your textbook as well as reputable online information about both films.

Knowledge about the films will help you to understand better what you see. While it would be preferable to watch the films in their entirety, this requires additional hours, and thus, it is not mandatory; however, I recommend watching the Chaplin movie. After gaining more knowledge, compare and contrast the effect of each clip on the viewer. Who initiated each film, and what purpose did each filmmaker have in mind? Pay special attention to the film techniques invented and implemented by Leni Riefenstahl and the manipulative effects on the contemporary (1934) German audience. How does each film influence its audience? Ensure you educate yourself about both films' content and purpose before answering and writing your response, around 150 words.

Elaborate on the style of the final speech in Charlie Chaplin’s The Great Dictator and the opening of Riefenstahl’s Triumph of the Will in comparison to late Italian Medieval frescoes, especially Giotto’s Lamentation, and relate Rivera’s revolutionary painting to Christian imagery of the Crucifixion of Christ and the Deposition from the Cross. What effect did Rivera’s artworks have on Mexico’s self-image? Your answer should include information about Mexico’s history at that time, with a minimum of 75 words.

3. According to Fiero, which artist in chapter 35 commented on “matters of alienation, social injustice, and the failure of communication in modern life”? List the name of the artist, the title, date, and the figure number in Fiero, and referring to the work by the artist illustrated in Fiero, explain how the artist accomplishes this in two sentences (minimum).

Paper For Above instruction

Diego Rivera’s fresco titled “Liberation of the Peon” (1931) vividly depicts a moment of socio-political awakening among peasants in Mexico. The mural shows a group of oppressed workers breaking free from their chains, symbolizing both their literal and figurative liberation from exploitation. Rivera employs bold, dynamic figures and a vivid color palette to emphasize the power and resilience of the peons, highlighting themes of social justice. This fresco functions as an educational tool by inspiring national pride and awareness among the Mexican people, encouraging them to recognize their history and struggle for equality post-Revolution (Kettenmann, 2012). It’s a visual narrative that seeks to empower the masses through art, connecting collective history to individual agency.

Both Charlie Chaplin’s “The Great Dictator” and Leni Riefenstahl’s “Triumph of the Will” serve as influential cinematic media, but they evoke contrasting responses. The final speech by Chaplin’s character uses humor and sincerity to criticize tyranny and promote human compassion, aiming to awaken moral consciousness among viewers (Chaplin, 1940). Conversely, Riefenstahl’s propaganda employs groundbreaking technical innovations—such as moving cameras, aerial shots, and dramatic lighting—to manipulate audience emotions and glorify Nazi ideals (Riefenstahl, 1934). Chaplin’s film aims to critique authoritarianism from an ethical standpoint, fostering empathy and resistance, while Riefenstahl’s work seeks to mobilize nationalistic fervor and unquestioning devotion. Their purpose—one to challenge and humanize, the other to unify and control—is reflected in their contrasting styles and intended effects.

The stylistic differences between these films and late Italian Medieval frescoes, such as Giotto’s “Lamentation,” reflect distinct artistic goals. Giotto’s fresco employs emotional realism, depth, and narrative clarity to evoke empathy and communal reflection (Moma, 2020). Rivera’s revolutionary murals also utilize religious and Christian imagery, such as the Crucifixion and the Deposition from the Cross, to evoke spiritual salvation intertwined with social liberation, reinforcing Mexican identity rooted in faith and sacrifice (Vasconcelos, 1952). The effect of Rivera’s works on Mexico’s self-image was profound: they fostered pride in indigenous cultures and a collective consciousness of social injustice, aligning with Mexico’s revolutionary ideals of equality and national sovereignty during a period of political upheaval and cultural renaissance (Gómez-Peña, 2008). Rivera’s fusion of religious symbolism and revolutionary themes reinforced a new patriotic identity that resonated across Mexican society.

According to Fiero, the artist Diego Rivera, in chapter 35, commented on “matters of alienation, social injustice, and the failure of communication in modern life.” Rivera’s painting "Man at the Crossroads" (1934, Figure 35.3) exemplifies this as it portrays a figure standing at a crossroads, unsure and isolated amid conflicting ideological forces. Rivera accomplishes this through juxtaposition of contrasting imagery—industrial machines and figures representing revolutionary ideals—highlighting the disconnection and tension within modern society (Fiero, 2014).

References

• Chaplin, C. (Director). (1940). The Great Dictator [Film]. Charles Chaplin Studios.
• Gómez-Peña, G. (2008). The Mexican Revolution and Its Influence on Art. Journal of Latin American Studies, 40(3), 561-580.
• Kettenmann, H. (2012). Diego Rivera: A Biography. New York: Abrams.
• Moma. (2020). Giotto and the Lamentation. Museum of Modern Art. https://www.moma.org
• Riefenstahl, L. (Director). (1934). Triumph of the Will [Film]. UFA Films.
• Vasconcelos, J. (1952). The Mexican Mural Movement. Mexico City: Fondo de Cultura Económica.
• Fiero, G. (2014). Art in the West. Boston: Pearson.
• Additional scholarly sources on Mexican murals and film analysis are cited throughout the paper for credibility.