Rating: 
Summary: An Outstanding Biography of the World's Greatest Muralist
Review: Diego Rivera was a larger than life character both socially and physically. His life was a facinating one and worthy of such a fantastic biography. It doesn't matter much if you are familiar with Rivera's work or not, if you enjoy biography and history you'll soon realize what an amazing life Diego Rivera led. Rivera was born at the right time in a unique culture for art- He had a Forest Gump type of life in the early 1900's in the way he knew and interacted with almost anybody who was anybody those days. From his art contemporaries in Spain and France, including Picasso, Modigliani, and Mondrian, to Einstien, Henry Ford and his famous artist wife Frida Kahlo, his art had a way of transcending culture that drew people to him. Patrick Marnham includes many examples of this and has done extensive research into his personal life. He was a man constantly having affairs and looking to be comforted due to his upbringing.
His life also parallels much of what happened politicaly in the world throughout his life. For most of his life, Rivera was a communist supporter who thought he could inspire social and poltical change by painting political murals. Being such a contraversial artist, Rivera made enemies with the Rockefeller's in New York after painting communist portraits and imagry instead of the agreed design. He also was a supporter and friend of Trotsky, and helped to bring him to assylum in Mexico.
This book includes some fantistic color reproductions. It was wonderful to read about the details he included and then see them for myself. It also includes some great photographs of key encounters mentioned in the text.
Diego Rivera was a artist who's life paralelled the colorful culture of Mexico and the political unrest of a pre-WWII world. I couldn't have been more pleased to read this wonderful book for the insight it gave me about art, politics and culture.
Rating:
Summary: An Outstanding Biography of the World's Greatest Muralist
Review: Diego Rivera was a larger than life character both socially and physically. His life was a facinating one and worthy of such a fantastic biography. It doesn't matter much if you are familiar with Rivera's work or not, if you enjoy biography and history you'll soon realize what an amazing life Diego Rivera led. Rivera was born at the right time in a unique culture for art- He had a Forest Gump type of life in the early 1900's in the way he knew and interacted with almost anybody who was anybody those days. From his art contemporaries in Spain and France, including Picasso, Modigliani, and Mondrian, to Einstien, Henry Ford and his famous artist wife Frida Kahlo, his art had a way of transcending culture that drew people to him. Patrick Marnham includes many examples of this and has done extensive research into his personal life. He was a man constantly having affairs and looking to be comforted due to his upbringing.
His life also parallels much of what happened politicaly in the world throughout his life. For most of his life, Rivera was a communist supporter who thought he could inspire social and poltical change by painting political murals. Being such a contraversial artist, Rivera made enemies with the Rockefeller's in New York after painting communist portraits and imagry instead of the agreed design. He also was a supporter and friend of Trotsky, and helped to bring him to assylum in Mexico.
This book includes some fantistic color reproductions. It was wonderful to read about the details he included and then see them for myself. It also includes some great photographs of key encounters mentioned in the text.
Diego Rivera was a artist who's life paralelled the colorful culture of Mexico and the political unrest of a pre-WWII world. I couldn't have been more pleased to read this wonderful book for the insight it gave me about art, politics and culture.
Rating:
Summary: Great Biography of a Flawed but Great Artist
Review: Diego Rivera was born in the magical city of Guanajuato. This fact alone made me pick up this book and then buy it. I visited Guanajuato in 2002 and fell in love with the twisty roads, the Baroque facades of the Templos and the Basilica, the Easter-egg colored houses and the general feeling that one had been dropped down in a 18th Century Spanish town. Rivera left it with his mother at the age of six, but the city of his birth, with its recent mummies and Day of the Dead festivals left its mark on him. Rivera lived in Mexico City until 1907, when he left for Spain and for the next 15 years lived there and in France. He picked up a common-law wife and then a lover- a portent of things to come. He met and was friends (or sometimes enemies) with some of the greatest artists of the period, including Picasso, Mondrian, Modigliani and Matisse. He worked in classic style until he accepted Cubism, only to move toward Cezanne-style art, and eventually to develop his own style. He eventually became one of the greatest of modern fresco painters. However, his character was far from flawless. He lied about his past often and in different ways, depending on the situation, was not very careful about personal hygiene, and also often ran away from relationships to avoid unpleasant realities. Rivera joined the Mexican Communist Party (MCP) in 1922. After three failures at having a permanent relationship with a woman, he married the rather obsessional young Communist Frida Kahlo (who was twenty years his junior) in 1929. In that same year he was expelled from the MCP because of various internal party intrigues. He then became friends with the exiled Leon Trotsky, who repaid him by having a short affair with Frida. Frida, to make matters more complicated, was repaying Rivera for his affair with her sister. Because of his association with Trotsky, Rivera was not readmitted to the party again until 1954, after the death of Stalin. This summery only touches on and can hardly do justice to the complicated world of Diego Rivera, one of the most complex of men. Patrick Marnham presents in this book the convoluted ins and outs of Rivera's life, his many affairs and his association with the art world and the Communist Party in vivid detail. This is a fascinating study of this very complex and often selfish man who was also a great artist. It is also a window into a very confusing and turbulent time in the history of the World. It is a work that should be read by all interested in understanding this period and the modern world that rose from it.
Rating:
Summary: Great Biography of a Flawed but Great Artist
Review: Diego Rivera was born in the magical city of Guanajuato. This fact alone made me pick up this book and then buy it. I visited Guanajuato in 2002 and fell in love with the twisty roads, the Baroque facades of the Templos and the Basilica, the Easter-egg colored houses and the general feeling that one had been dropped down in a 18th Century Spanish town. Rivera left it with his mother at the age of six, but the city of his birth, with its recent mummies and Day of the Dead festivals left its mark on him. Rivera lived in Mexico City until 1907, when he left for Spain and for the next 15 years lived there and in France. He picked up a common-law wife and then a lover- a portent of things to come. He met and was friends (or sometimes enemies) with some of the greatest artists of the period, including Picasso, Mondrian, Modigliani and Matisse. He worked in classic style until he accepted Cubism, only to move toward Cezanne-style art, and eventually to develop his own style. He eventually became one of the greatest of modern fresco painters. However, his character was far from flawless. He lied about his past often and in different ways, depending on the situation, was not very careful about personal hygiene, and also often ran away from relationships to avoid unpleasant realities. Rivera joined the Mexican Communist Party (MCP) in 1922. After three failures at having a permanent relationship with a woman, he married the rather obsessional young Communist Frida Kahlo (who was twenty years his junior) in 1929. In that same year he was expelled from the MCP because of various internal party intrigues. He then became friends with the exiled Leon Trotsky, who repaid him by having a short affair with Frida. Frida, to make matters more complicated, was repaying Rivera for his affair with her sister. Because of his association with Trotsky, Rivera was not readmitted to the party again until 1954, after the death of Stalin. This summery only touches on and can hardly do justice to the complicated world of Diego Rivera, one of the most complex of men. Patrick Marnham presents in this book the convoluted ins and outs of Rivera's life, his many affairs and his association with the art world and the Communist Party in vivid detail. This is a fascinating study of this very complex and often selfish man who was also a great artist. It is also a window into a very confusing and turbulent time in the history of the World. It is a work that should be read by all interested in understanding this period and the modern world that rose from it.
Rating: 
Summary: excellent, thorough work on a complex and difficult subject.
Review: I am finding this an excellent complement to the recent (and also highly readable) biography of photgrapher Tina Modotti, who documented his murals. I've read other Marnham work and find his felicitous style eminently readable. His digressions always provide a useful context for the subject, and his research has been thorough.
Rating: 
Summary: Author Has Better Understanding of History than People
Review: I am surprised that other readers enjoyed this book, especially readers who like Rivera. I had the distinct impression that the author, Patrick Marnham, did not like Rivera. Rivera's larger than life personality can probably not be claimed to be understood by many people, and perhaps Marnham's total want of understanding is the source for his dislike. While this could be one of several books to read about Diego Rivera it should not be relied heavily upon. Marnham does not seem to approve of many of the characters he writes about in this book . I don't think he has an appreciation for colorful people. I felt he was a very supressed and uptight person writing about some very free spirits. A biography of Rivera seemed a poor subject choice for him. Perhaps being an art critic would be a better suited undertaking for him. Or maybe since his grasp of history seems good his temperment would be better suited to writing dry fact based history than attempting to discern the subtlties of the human character. He made several assertions that he represented as fact. One that springs to mind was that Frida Kahlo commited suicide. While that May be true, it also may not be true. Marnham collected information about Diego Rivera, where he went, when he went , etc, but gave no real sense of warmth of Diego Rivera. Since Rivera was a man of such great passion it was disappointing to have only a two dimensional portrait of him drawn. I felt I knew alot more of Marnham's personality after reading this book than of Rivera's. But touché I felt much the same about Marnham as he did Rivera, I didn't like him much.
Rating:
Summary: Author Has Better Understanding of History than People
Review: I am surprised that other readers enjoyed this book, especially readers who like Rivera. I had the distinct impression that the author, Patrick Marnham, did not like Rivera. Rivera's larger than life personality can probably not be claimed to be understood by many people, and perhaps Marnham's total want of understanding is the source for his dislike. While this could be one of several books to read about Diego Rivera it should not be relied heavily upon. Marnham does not seem to approve of many of the characters he writes about in this book . I don't think he has an appreciation for colorful people. I felt he was a very supressed and uptight person writing about some very free spirits. A biography of Rivera seemed a poor subject choice for him. Perhaps being an art critic would be a better suited undertaking for him. Or maybe since his grasp of history seems good his temperment would be better suited to writing dry fact based history than attempting to discern the subtlties of the human character. He made several assertions that he represented as fact. One that springs to mind was that Frida Kahlo commited suicide. While that May be true, it also may not be true. Marnham collected information about Diego Rivera, where he went, when he went , etc, but gave no real sense of warmth of Diego Rivera. Since Rivera was a man of such great passion it was disappointing to have only a two dimensional portrait of him drawn. I felt I knew alot more of Marnham's personality after reading this book than of Rivera's. But touché I felt much the same about Marnham as he did Rivera, I didn't like him much.
Rating:
Summary: Marnham on Rivera
Review: Marnham's biography provides a rotund, finely textured portrait worthy of the rotund Rivera. Marnham's Rivera is a technically blessed meta-Mexican eternally adapting his extraordinary gifts and solitary vision to the economic and political exigencies of Europe, Mexico, and the United States. Marnham's Rivera loves only art and as a consequence was - as we all now know - a bad husband, bad father and horrible politician but - as we may not know- never truly a bad man. Marnham is able to write with enormous respect for Rivera without losing his critical edge. For example, throughout the book, Marhnam's continuously tests Rivera's own autobiographical assertions against more conventional notions of truth with amusing irony but without condescension. Marnham never loses sight of Rivera's genius. The biography contributes fascinating details about Rivera's European years from his studies in Spain to his days/nights as a sometimes participant of the cafe society of the Free Republic of Montparnasse. Likewise, Marnham's discussion of the Rivera/ Kahlo visits to the United States is fascinating. Though this fills in large gaps in Rivera scholarship, my major criticism is that Marnham failed to dedicate comparable effort to Rivera's role in the intellectual currents of post-revolutionary Mexico. For instance, scarce mention is devoted to the contrasts and rivalries between Rivera, and the other notable mutalists of his day, Jose Clemente Orozco and David Alfaro Siqueiros. Marnham also ignores Rivera's artistic legacy in Mexico or the United States. While Rivera did not invent nor perhaps truly even master mural art, Rivera is certainly the premier inspiration for "public" artists on both sides of the border. For an interesting and literate discussion of Rivera and Mexican muralism, I recommend Octavio Paz, Essays on Mexican Art.
Rating:
Summary: A Rotund Biography Worthy of the Rotund Rivera
Review: Marnham's biography provides a rotund, finely textured portrait worthy of the rotund Rivera. Marnham's Rivera is a technically blessed meta-Mexican eternally adapting his extraordinary gifts and solitary vision to the economic and political exigencies of Europe, Mexico, and the United States. Marnham's Rivera loves only art and as a consequence was - as we all now know - a bad husband, bad father and horrible politician but - as we may not know- never truly a bad man. Marnham is able to write with enormous respect for Rivera without losing his critical edge. For example, throughout the book, Marhnam's continuously tests Rivera's own autobiographical assertions against more conventional notions of truth with amusing irony but without condescension. Marnham never loses sight of Rivera's genius. The biography contributes fascinating details about Rivera's European years from his studies in Spain to his days/nights as a sometimes participant of the cafe society of the Free Republic of Montparnasse. Likewise, Marnham's discussion of the Rivera/ Kahlo visits to the United States is fascinating. Though this fills in large gaps in Rivera scholarship, my major criticism is that Marnham failed to dedicate comparable effort to Rivera's role in the intellectual currents of post-revolutionary Mexico. For instance, scarce mention is devoted to the contrasts and rivalries between Rivera, and the other notable mutalists of his day, Jose Clemente Orozco and David Alfaro Siqueiros. Marnham also ignores Rivera's artistic legacy in Mexico or the United States. While Rivera did not invent nor perhaps truly even master mural art, Rivera is certainly the premier inspiration for "public" artists on both sides of the border. For an interesting and literate discussion of Rivera and Mexican muralism, I recommend Octavio Paz, Essays on Mexican Art.
Rating:
Summary: Marnham on Rivera
Review: No footnotes, inadequate bibliography, and surprisingly, almost no mistakes. He reports on time and place in a constructive way and dispels Rivera's own myths about himself humorously. Very good read.
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