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Tomás Rivera (December 22, 1935 – May 16, 1984) was a Mexican American author, poet, and educator. He was born in Texas to migrant farm workers, and worked in the fields as a young boy.
Mask in the Rafael Coronel Museum, Zacatecas Rafael Coronel (24 October 1931 – 7 May 2019) was a Mexican painter. [1] He was the son-in-law of Diego Rivera.. His representational paintings have a melancholic sobriety, and include faces from the past great masters, often floating in a diffuse haze.
The Bar (painting) Bashi-Bazouk (Jean-Léon Gérôme) Berlin Street Scene; Between Rounds; The Bezique Game; Blessed Jacopone da Todi (painting) The Bookworm (Spitzweg) The Breakdown; Breaking Home Ties; The Brierwood Pipe; Britomart Delivering Amoretta from the Enchantment of Busirane; Britomart Redeems Faire Amoret; The Bullfight
UCR bell tower. Welcome to the WikiProject page for the University of California Riverside Libraries.The UCR Libraries consist of four libraries: the Tomás Rivera Library, which houses the university's humanities, arts, social science, and Special Collections & University Archives collections; the Orbach Science Library; the Multimedia Library; and the Music Library.
Cherry (painting) Chez le Père Lathuille; The Chinese Convert; Christian II signing the Death Warrant of Torben Oxe; Claude Monet Painting in His Garden at Argenteuil; Portrait of a Clergyman (de Ville) Portrait of a Collector; The Congress of Paris; Congress Voting Independence; The Constellation of Leo; Portrait of Cosimo the Elder; A Couple ...
Rivera, Tomás (1977) ...y no se lo tragó la tierra/...And the Earth Did Not Part. Trans by Herminio Rios, Berkeley: Justa Publications. Rivera, Tomás (1987) ...y no se lo tragó la tierra/ ...And the Earth Did Not Devour Him (English and Spanish edition). Translated by Evangelina Vigil-Piñón.
On 10 May 1933, as Rivera and his assistants worked on the mural, they were scrutinized throughout the day [42] during what Rivera called "the battle of Rockefeller Center". [41] By the evening, Robertson had ordered that Rivera stop all work on the mural. [43] Rivera was paid in full, but the mural was covered in stretched canvas and left ...
Both Rivera's lithograph and paintings of Zapata denote that Rivera was careful to choose the way in which he represented Zapata. Another Mexican artist, José Clemente Orozco "scorned this type of imagery as romanticizing poverty and backwardness; nevertheless, in their very idealization, these images reassured viewers in Mexico and abroad ...