Abstract
This paper examines Primitivist and Modernist elements in three paintings by Diego Rivera namely, "Allegory of California," "Flower Day," and "Still Life of Bread and Fruit." It also offers a definition of modernism.

From the Paper
"It is probably true that all of us believe that we are modern Ramses, Socrates and Helen of Troy no doubt considered themselves modern in their time. This is no doubt one of the reasons that it can be so difficult to define exactly what Modernism is in art ..."

Tags:Diego Rivera, Modernism and Primitivism

Abstract
This paper begins with a recognition of who Diego Rivera is and a brief description of his artistic background. The paper then continues on to the present, providing a brief biography and historical context for the man. In particular, the paper discusses Rivera's life as a painter, a politician and as a man of Mexico.

From the Paper
"In recognition of Rivera as a "figure of enormous stature in Mexican art," the National Institute of Fine Arts presented in 1949 an exhibition celebrating "fifty years of his artistic work." On that occasion, Carlos Chavez, then general director of the Institute, said: "Diego Rivera is one of the greatest painters of all Mexican history, and one of the few authentically great of the present epoch throughout the world. This is the first major retrospective exhibition of his works to be shown in his own country. The Mexican public needs to see his work - fifty years of it - all together in order to know and appreciate his stature." Thesis: This paper investigates into what made Diego Rivera not only one of the most prominent Mexican painters of the twentieth century, but also a man whose life has been worthy of novels and movies alike. This paper strives to present a short biography of Rivera which will illuminate the most important moments in his formation as a painter, politician, and ultimately a man."

Tags:painter, painting, diego rivera, art

Abstract
The paper relates that observations were made at a Starbucks in downtown San Diego, not far from the campus of San Diego City College. The paper describes the store as one of a chain with more than a dozen stores in San Diego, and this one is located at 1194 6th Avenue, at the corner of 6th Avenue and B Street. The paper relates that Starbuck's is a very popular coffee shop chain, and in many cities it is even more concentrated than it is in San Diego. The paper explains that the location at 6th Avenue and B Street is near the city college on one side and the downtown business and financial district on the other, at least close enough so that much of the traffic through the area is tending toward one or the other.

From the Paper
"The observations were made at a Starbuck's in downtown San Diego, not far from the campus of San Diego City College. The store is one of a chain with more than a dozen sores in San Diego, and this one is located at 1194 6th Avenue, at the corner of 6th Avenue and B Street. Starbuck's is a very popular coffee shop chain, and in many cities it is even more concentrated than it is in San Diego. The location at 6th Avenue and B Street is near the city college on one side and the downtown business and financial district on the other, at least close enough so that much of the traffic through the area is tending toward one or the other. Sixth Avenue is by far the busier street and connects to a large parking garage down..."

Tags:starbucks, store, observations

Abstract
This work discusses how public space planning can be used as a politically motivated and concerted effort on the part of those in power to reshape society by planning and reshaping its public spaces. The paper then presents a biographical and political discussion about Diego Rivera, exploring his life, his work and his mind as a public contributor to political and social thought through his art.

Outline:
Introduction
Politics of Public Planning
Diego Rivera the Politician

From the Paper
"In an article discussing the connections between the famous muralist, and political activist Diego Rivera there is a statement about art that demonstrates both the depth of Rivera's involvement in the political and the controversies that surrounded him and his allies. The Mexican art movement of the 1920s-30s was a foundational backdrop to Rivera's political leanings, described later in this work by a contextual biographer of Rivera. It would seem contrary to say that if Rivera had not been so adamant a proponent of public art, many of his ideas and works would have been lost to the walls of private homes and indoor museums, but his activism was in fact rooted in his idea of public art as a tool of political and social revolution and therefore in his mind to be displayed for the world to see and the community to build from."

Tags:public, art, activism, social, revolution

Abstract
The paper discusses how Diego Rivera lived a highly political and artistic life in his murals. The paper explains that his greatest achievements in art are reflected through the Communism he so dearly believed in. The paper portrays how by painting scenes of historical value for the common working people, Rivera was a man who believed that greed and excess were an international problem. The paper stresses how in this manner, Diego Rivera lived a life of politics through artistic integrity and the genius of the mural medium.

From the Paper
"This study will examine the life and artistic achievements of the Mexican muralist Diego Rivera. By understanding the foundations of Rivera's political life, one can realize the power of his murals to relate a strong cultural relativism of communistic philosophy in his mural works. By creating murals for the working people of Mexico, Rivera exemplified the artistic vision of a Mexican Communist Nationalism that has endured into the 21st century. This was the life Diego Rivera both politically and artistically defined through the medium he created for walls and large-scale mural painting. His early life reflected the middle class atmosphere of his rural home: "Diego Rivera was born December 8, 1886, in Guanajuato in Mexico, to Diego and Maria Barrientos Rivera.""

Tags:rivera, art, mural

Abstract
This paper explains why Diego Rivera holds a unique and intriguing position within the history of art. It shows that because his nationality and his education, his cultural inheritance and his intellectual development, these place him on a perch between two widely differing paradigms of aesthetics and representation. The paper focuses on Diego Rivera's 1917 composition, "Still Life with Bread and Fruit".

From the Paper
"Rivera's background and professional artistic training certainly place him in a Western European tradition that stretches from the Renaissance through the period of high modernism. Rivera came of age at a time when modernism itself was in full swing, and it certainly exacted a profound and direct influence on his work. In his early life, Rivera attended a painting school in Spain, traveled significantly throughout Europe, and briefly lived in Paris, where "he was influenced by post-impressionism, mainly by Paul C'zanne's art" ("Diego Rivera (1886-1957)"). Indeed, his palette was deeply affected by modernist works of the day, and he heavily employed many modernist techniques and methods during this apprenticeship period as he continued to develop his own style. Before he ultimately returned to Mexico, he even went to Italy to study renaissance painting more formally. His work during this period reflects representative modernist trends and "shows study and analysis of neoimpressionism, C'zannism, Fauvism and Cubism" ("Biography: Diego Rivera"). While most people are most familiar with Diego Rivera's mature corpus of works in which he experimented with mural forms that depicted scenes of Mexican peasantry and other traditional scenes, his early work is much more in the European modernist tradition of post-impressionism and cubism. We will briefly examine one such representative work."

Tags:aesthetics, representation, mexico, still, life

Abstract
This paper explains that Diego Velazquez's "Toilet of Venus", popularly known as "The Rokeby Venus", created a great deal of controversy in the early 20th century. The author points out that, while the artist himself was inspired to create this artwork based on socially acceptable views of women at the time and while it could be featured today in any reputable museum without causing so much as a blink by even the most conservative audience, these perceptions tend to change over time. The paper relates that the gender construction developed by this work of art was deemed sufficiently exploitative that military female activists, known as suffragettes, targeted it for destruction because of its lurid portrayal of the nude female form and its suggestive qualities. The paper includes a picture of the painting and several long quotations, many of which are embedded in the text.

Table of Contents
Review and Discussion
Background and Overview.
Historical Setting and Social Transitions.
Treatment of Gender Construction in Valezquez's "The Rokeby Venus."
Figure 1. Velazquez, "The Rokeby Venus".
Conclusion

From the Paper
"According to Bartley (2003), the Women's Social and Political Union (WSPU) was founded by Emmeline Pankhurst, her daughters and some friends to campaign for votes for women. ... The suffragettes as the WSPU members were called, engaged in a wide range of activities that targeted existing gender disparities, including chaining themselves to railings, writing "Votes for Women" with acid on golf courses that were all-male, disrupted the postal service, verbally and physically attacked members of parliament, put graffiti on government buildings and even church walls and broke windows as well as attacking specific works of art in public galleries and burnt down buildings."

Tags:suffragettes, nude, exploitative, destruction

Abstract
"Las Meninas" painted by Diego Velasquez in 1656 is a riddle embodied with the subject matter of the painting and by the artist himself.

Abstract
A summary of Diego Rivera's work and style, followed by an interview with the artist himself. The painter answers questions regarding his shifts in style, mural art in Mexican history, his atheism and his inspirations. It is apparent how his paintings emphasize the power of art as a medium to bring about social reforms.

From the Paper
"Diego Rivera was one of the leading artists of the 20th century. He was born in 1886 in Leon, Guanajuato. He had an inherent talent for painting (arts), which was evident when he started to draw even as he was just 3 years old. He went on to become one of Mexico's leading painters. In the early part of his career he was a traditional artist but later on, he was influenced by Cezanne and the Cubist approach to paintings. This is clearly reflected in his works such Zapatista Landscape, Woman at the well, etc. However it was Picasso who made a great influence upon him and Diego produced many of his works predominantly reflecting Cubical style, which gives more freedom for the artist. His artwork "Sailor at lunch" is typical of Cubism."

Tags:art, painting, Mexico, social, Cubist, style, mural, Atheism

Abstract
This environmental paper examines the San Diego-Tijuana water epidemic. The author presents the history and current factors involved in the problem: contamination and drought. It highlights the political issues involved in environmental city management for these Mexican and American border cities.

From the Paper
"In recent decades the world has come to realize that the earth's resources are not comprised of a bottomless pit. It has been acknowledged that there are resources that are threatening to run out or contaminate so that they can no longer be useful to mankind. One of the most important resources the world has is the water supply. "

Tags:environment, earth's, resources, water, supply, contamination, mexico, usa, united, states, america, contamination, political, drought, environmental, city, management