Contemporary art historiography has been investigating Diego Rivera's period in the United States since the 1930s, focusing primarily on his murals in Detroit (1932) and the Rockefeller Center (1933). However, despite the public success of the first exhibition at the Museum of Modern Art in New York featuring Rivera, which opened in 1931, there are no specific studies to date on the critical reception of Diego Rivera resulting from this exhibition and, more generally, from the artist's relationship with the New York patrons (including the Rockefeller family itself) who were involved with the museum as investors and founders. Investigating this aspect means shedding light on the period from 1931 to 1945 that involves MoMA, Diego Rivera, and his reception within American society. This dissertation aims to demonstrate the mutual influence among the parties involved (Rivera, MoMA, patrons, American society), depict MoMA as a cultural mediator between Rivera's art and the American public, and highlight Rivera's importance in shaping MoMA's Latin American art collections during this period. The analysis of this evolutionary arc is based on the observation of three MoMA exhibitions featuring Rivera: his retrospective from 1931-1932, the major group exhibition titled "The Latin-American Collection of the Museum of Modern Art" held in 1943, and finally, the 1945 exhibition titled "The Museum Collection of Painting and Sculpture," one of the most significant exhibitions ever organized by the museum, as it aimed to illustrate the status of the collections at the time of the exhibition. In conclusion, this dissertation clarifies the roles of the social actors examined here and the ultimate consequences of this evolutionary period.
La storiografia artistica contemporanea si è occupata sin dagli anni Trenta del sec. XX di indagare sul periodo di Diego Rivera negli Stati Uniti, concentrandosi principalmente sui grande murales di Detroit (1932) e del Rockefeller Center (1933). Tuttavia, nonostante il successo pubblico della prima mostra del Museum of Modern Art di New York su Rivera aperta nel 1931, non ci sono ad oggi studi specifici sulla fortuna critica di Diego Rivera risultante da questa esposizione e in generale dalla relazione dell’artista con i mecenati newyorkesi (tra i quali la stessa famiglia Rockefeller) che gravitavano intorno al museo in quanto investitori e fondatori. Indagare su questo aspetto significa portare alla luce lo svolgimento di un arco temporale dal 1931 al 1945 che coinvolge il MoMA, Diego Rivera e la sua ricezione all’interno della società statunitense. Il presente elaborato di tesi intende dimostrare l’influenza reciproca delle parti in causa (Rivera, MoMA, mecenati, società statunitense), ritrarre il MoMA come mediatore culturale tra l’arte di Rivera e il pubblico degli Stati Uniti, mettere in luce l’importanza dello stesso Rivera nella formazione delle collezioni di arte latinoamericana del MoMA in questo arco di tempo. L’analisi di questo arco evolutivo si basa sull’osservazione di tre mostre del MoMA che coinvolgono Rivera: la sua retrospettiva del 1931-1932, la grande mostra collettiva del MoMA dal titolo “The Latin-American Collection of the Museum of Modern Art” che si svolge nel 1943 e infine nella mostra del 1945 dal titolo “The Museum Collection of Painting and Sculpture”, tra le più consistenti mostre mai organizzate dal Museo, in quanto intendeva illustrare lo status delle collezioni al momento della mostra. In conclusione si mette in chiaro quale sia il ruolo degli attori sociali qui presi in esame e quali saranno le conseguenze ultime di questo arco evolutivo.
La ricezione dell’opera di Diego Rivera negli Stati Uniti (1930-1945): il Museum of Modern Art come mediatore culturale
LAZZARONI, ANNA
2023/2024
Abstract
Contemporary art historiography has been investigating Diego Rivera's period in the United States since the 1930s, focusing primarily on his murals in Detroit (1932) and the Rockefeller Center (1933). However, despite the public success of the first exhibition at the Museum of Modern Art in New York featuring Rivera, which opened in 1931, there are no specific studies to date on the critical reception of Diego Rivera resulting from this exhibition and, more generally, from the artist's relationship with the New York patrons (including the Rockefeller family itself) who were involved with the museum as investors and founders. Investigating this aspect means shedding light on the period from 1931 to 1945 that involves MoMA, Diego Rivera, and his reception within American society. This dissertation aims to demonstrate the mutual influence among the parties involved (Rivera, MoMA, patrons, American society), depict MoMA as a cultural mediator between Rivera's art and the American public, and highlight Rivera's importance in shaping MoMA's Latin American art collections during this period. The analysis of this evolutionary arc is based on the observation of three MoMA exhibitions featuring Rivera: his retrospective from 1931-1932, the major group exhibition titled "The Latin-American Collection of the Museum of Modern Art" held in 1943, and finally, the 1945 exhibition titled "The Museum Collection of Painting and Sculpture," one of the most significant exhibitions ever organized by the museum, as it aimed to illustrate the status of the collections at the time of the exhibition. In conclusion, this dissertation clarifies the roles of the social actors examined here and the ultimate consequences of this evolutionary period.File | Dimensione | Formato | |
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https://hdl.handle.net/20.500.12608/73866