Artist:
Diego Rivera
Title:
The Tlatelolco Market
Year:
1935
Adress:
Plaza de la Constitucion
Website:
www.mexicolore.co.uk:
We turned to look at the great marketplace and the crowds of people that were in it, some buying and others selling, so that the murmur and hum of their voices and words that they used could be he heard more than a league off. Some of the soldiers among us who had been in many parts of the world, in Constantinople, and all over Italy, and in Rome, said that so large a marketplace and so full of people, and so well regulated and arranged; they had never seen before.
www.thecity.mx:
Between 1929 and 1935, Rivera gave life, in the walls of Palacio Nacional's central yard, to a series of works relative to the history of Mexico, from prehispanic times until the first two decades of XX century.
This mural represents, he most important trading center of the region during the first years of XVI century, with streets specializing in products from the area and other regions of Mesoamerica such as pigments, jewels and even exotic seasonings.
The figure of tlatoani walkinghrough the market may be seen in the forefront; while in the background there is, with great perspective, the Mexica city of Tlatelolco.
www.mxcity.mx:
El pintor se basó en crónicas espaà±olas para plasmar la identidad del mercado en su famoso mural.
Entre 1929 y 1935, el muralista mexicano Diego Rivera pintó en las paredes del Palacio Nacional una serie de obras que cuentan la historia de México, desde la época precolombina hasta inicios del siglo XX. El corredor norte fue el elegido para los episodios de la cotidianeidad indàgena. De este espacio destaca la pieza El Tianguis de Tlatelolco, una pintura llena de color, significados e identidad ...
Translation:
The painter relied on Spanish chronicles to capture the identity of the market in his famous mural. Between 1929 and 1935, the Mexican muralist Diego Rivera painted on the walls of the National Palace a series of works that tell the history of Mexico, from pre-Columbian times to the beginning of the 20th century. The northridor was chosen for the episodes of indigenous daily life. Of this space, the piece El Tianguis de Tlatelolco stands out , a painting full of color, meanings and identity.
This plausible piece portrays the Tlatelolco Market , perhaps the most relevant commercial space in Tenochtitlán. In the first instance, it is possible to locate the tlatoani supervising the activities of the site, as well as the merchants offering feathers, furs, precious stones and food. The background landscape also stands out, where the Aztec capital stands , with iconic temples and buildings of the time.
It is important to mention that Rivera did not paint this mural with generic information. The painter spent a year researching hard data on the market and the city, to truly recreate a day at the famous Tianguis de Tlatelolco. To achieve this, it was based on chronicles of Spaniards who saw with their own eyes the hustle, color and bustle of this space. Here is a description of Bernal Dàaz del Castillo:
And since we arrid at the great square, which is called the Tatelulco, as we had not seen such a thing , we were amazed by the multitude of people and merchandise that were in it and the great concert and regiment that they had in everything. The principals who went with us were showing us; each type of merchandise was by itself, and their seats were located and marked. Let's start with the merchants of gold and silver and rich stones and feathers and blankets and carved things , and other Indian merchandise. male and female slaves; I say that they brought as many of them to sell to that great square as the Portuguese bring the Negroes from Guinea, and they brought them tied on long poles with collars around their necks, so that they would not run away, and others were left loose.were there other merchants who sold coarser clothing and cotton and things made of twisted thread, and peanuts who sold cocoa? "
"Let's go ahead and say of those who sold beans and chia and other legumes and herbs elsewhere. Let's go to those who sold chickens, jowls, rabbits, hares, deer and ducklings, dogs and other things of this art, at their own expense. part of the square. Let's say the fruit vendors, from which they sold cooked things, mazamorreras and undercooked , also their part. Well, all kinds of earthenware, made in a thousand ways, from large jars and small vases, which were themselves apart: and also those who sold honey and marshmallows and other sweets that they made as nuégados. Well, those who sold wood, boards, cradles and beams and pits and benches, all by themselves. We go to those who sold firewood, ocote, and other things of this kind. What more do you want me to say than, strictly speaking,did they also sell many canoes full of men's yenda ? As the great square was full of so many people and all surrounded by portals, in two days everything could not be seen"
As the Spaniards narrate, the stalls were accommodated depending on the type of merchandise . And that is how Rivera painted it, which is why it is possible to discern how different one merchant is from another. Similarly, a man who gives a woman a human arm is striking, with blood still running. This is a kind of courtship , which according to other accounts was common in the 16th century.
Undoubtedly, representing an ancient text in a visual way is much more dynamic and playful for the inhabitants of this city. Maybe if it weren't for Diego Rivera and his magnificent works of the Mexica people, maybe we couldn't imagine what our past looked like?
www.cdmxtravel.com:
Between 1929 and 1935 Rivera gave life, on the walls of the central courtyard of the National Palace, to a series of works on the history of Mexico from pre-Hispanic times to the first two decades of the 20th century.
This mural represents the most important commercial exchange center in the region during the first years of the 16th century, where the streets specialized in products from the area and other regions of Mesoamerica such as pigments and jewels to the most exotic condiments.
You can see in the foreground the figure of a tlatoani walking the tianguis, while in the background appears, with great perspective, the Mexican city of Tlatelolco.
[...] In the Tlatelolco market, the enjoyment is noticed by not omitting detail, in the same way as in the detailed description of Bernal Dàaz del Castillo, eloquent, in addition, about the magnitude that trade must have had in the prehispanic world. [...]
Also in pre-Columbian commerce, an indispensable activity of pre-Hispanic man to acquire and distribute the products of his work, there are valuable elements to understand the implications of this activity in the cultural sphere.
In the grisailles in the lower part of the market there are corn planters; pickers of chili, tomato, pumpkin, potato, sweet potato and beans; cotton pickers; spinners and weavers; debrkers of amate; paper makers and healers. All are activities and jobs of daily life, of which different versions are given in the other sections of the corridor in question. [...]
Beatriz de la Fuente, in Diego Rivera today , 1986, p. 95.
www.wikipedia.org:
Diego Maràa de la Concepción Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodràguez, known as Diego Rivera (December 8, 1886 '' November 24, 1957), was a prominent Mexican painter. His large frescoes helped establish the mural movement in Mexican and international art.
Between 1922 and 1953, Rivera painted murals in, among other places, Mexico City, Chapingo, and Cuernavaca, Mexico; and San Francisco, Detroit, and New York City, United States. In 1931, a retrospective exhibition of his works was held at the Museum of Modern Art in New York; this was before he completed his 27-mural series known as Detroit Industry Murals.
Rivera had numerous marriages and children, including at least one natural daughter. His child and only son died at the age of two. His third wife was fellow Mexican artist Frida Kahlo, with whom he had a volatile relationship that continued until her death. He was married a fifth time, to his agent.
Due to his importance in the country's art history, the government of Mexico declared Rivera's works a"monumentos historicos".
Rivera was born on December 8, 1886, as one of twin boys in Guanajuato, Mexico, to Maràa del Pilar Barrientos and Diego Rivera Acosta, a well-to-do couple. His twin brother Carlos died two years after they were born.
His mother Maràa del Pilar Barrientos was said to have Converso ancestry (Spanish ancestors who were forced to convert from Judaism to Catholicism in the 15th and 16th centuries). Rivera wrote in 1935"My Jewishness is the dominant element in my life," despite never being raised practicing any Jewish faith, Rivera felt his Jewish ancestry informed his art and gave him "sympathy with the downtrodden masses". Diego was of Mexican, Spanish, Indian, African, Italian, Jewish, Russian, and Portuguese descent.
Rivera began drawing at the age of three, a year after his twin brother died. When he was caught drawing on the walls of the house, his parents installed chalkboards and canvas on the walls to encourage him.
After moving to Paris, Rivera met Angelina Beloff, an artist from the pre-Revolutionary Russian Empire. They married in 1911, and had a son, Diego (1916''1918), who died young. During this time, Rivera also had a relationship with painter Maria Vorobieff-Stebelska, who gave birth to a daughter named Marika Rivera in 1918 or 1919.
Rivera divorced Beloff and married Guadalupe Maràn as his second wife in June 1922, after having returned to Mexico. They had two daughters together: Ruth and Guadalupe.
He was still married when he met art student Frida Kahlo in Mexico. They began a passionate affair and, after he divorced Marin, Rivera married Kahlo on August 21, 1929. He was 42 and she was 22. ir mutual infidelities and his violent temper resulted in divorce in 1939, but they remarried December 8, 1940, in San Francisco, California. A year after Kahlo's death, on July 29, 1955, Rivera married Emma Hurtado, his agent since 1946.
Rivera was an atheist. His mural Dreams of a Sunday in the Alameda depicted Ignacio Ramàrez holding a sign which read,"God does not exis". This work caused a furor, but Rivera refused to remove the inscription. The painting was not shown for nine years '' until Rivera agreed to remove the inscription. He stated"To affirm 'God does not exist', I do not have to hide behind Don Ignacio Ramàrez; I am an atheist and I consider religions to be a form of collective neurosis.
We turned to look at the great marketplace and the crowds of people that were in it, some buying and others selling, so that the murmur and hum of their voices and words that they used could be he heard more than a league off. Some of the soldiers among us who had been in many parts of the world, in Constantinople, and all over Italy, and in Rome, said that so large a marketplace and so full of people, and so well regulated and arranged; they had never seen before.
www.thecity.mx:
Between 1929 and 1935, Rivera gave life, in the walls of Palacio Nacional's central yard, to a series of works relative to the history of Mexico, from prehispanic times until the first two decades of XX century.
This mural represents, he most important trading center of the region during the first years of XVI century, with streets specializing in products from the area and other regions of Mesoamerica such as pigments, jewels and even exotic seasonings.
The figure of tlatoani walkinghrough the market may be seen in the forefront; while in the background there is, with great perspective, the Mexica city of Tlatelolco.
www.mxcity.mx:
El pintor se basó en crónicas espaà±olas para plasmar la identidad del mercado en su famoso mural.
Entre 1929 y 1935, el muralista mexicano Diego Rivera pintó en las paredes del Palacio Nacional una serie de obras que cuentan la historia de México, desde la época precolombina hasta inicios del siglo XX. El corredor norte fue el elegido para los episodios de la cotidianeidad indàgena. De este espacio destaca la pieza El Tianguis de Tlatelolco, una pintura llena de color, significados e identidad ...
Translation:
The painter relied on Spanish chronicles to capture the identity of the market in his famous mural. Between 1929 and 1935, the Mexican muralist Diego Rivera painted on the walls of the National Palace a series of works that tell the history of Mexico, from pre-Columbian times to the beginning of the 20th century. The northridor was chosen for the episodes of indigenous daily life. Of this space, the piece El Tianguis de Tlatelolco stands out , a painting full of color, meanings and identity.
This plausible piece portrays the Tlatelolco Market , perhaps the most relevant commercial space in Tenochtitlán. In the first instance, it is possible to locate the tlatoani supervising the activities of the site, as well as the merchants offering feathers, furs, precious stones and food. The background landscape also stands out, where the Aztec capital stands , with iconic temples and buildings of the time.
It is important to mention that Rivera did not paint this mural with generic information. The painter spent a year researching hard data on the market and the city, to truly recreate a day at the famous Tianguis de Tlatelolco. To achieve this, it was based on chronicles of Spaniards who saw with their own eyes the hustle, color and bustle of this space. Here is a description of Bernal Dàaz del Castillo:
And since we arrid at the great square, which is called the Tatelulco, as we had not seen such a thing , we were amazed by the multitude of people and merchandise that were in it and the great concert and regiment that they had in everything. The principals who went with us were showing us; each type of merchandise was by itself, and their seats were located and marked. Let's start with the merchants of gold and silver and rich stones and feathers and blankets and carved things , and other Indian merchandise. male and female slaves; I say that they brought as many of them to sell to that great square as the Portuguese bring the Negroes from Guinea, and they brought them tied on long poles with collars around their necks, so that they would not run away, and others were left loose.were there other merchants who sold coarser clothing and cotton and things made of twisted thread, and peanuts who sold cocoa? "
"Let's go ahead and say of those who sold beans and chia and other legumes and herbs elsewhere. Let's go to those who sold chickens, jowls, rabbits, hares, deer and ducklings, dogs and other things of this art, at their own expense. part of the square. Let's say the fruit vendors, from which they sold cooked things, mazamorreras and undercooked , also their part. Well, all kinds of earthenware, made in a thousand ways, from large jars and small vases, which were themselves apart: and also those who sold honey and marshmallows and other sweets that they made as nuégados. Well, those who sold wood, boards, cradles and beams and pits and benches, all by themselves. We go to those who sold firewood, ocote, and other things of this kind. What more do you want me to say than, strictly speaking,did they also sell many canoes full of men's yenda ? As the great square was full of so many people and all surrounded by portals, in two days everything could not be seen"
As the Spaniards narrate, the stalls were accommodated depending on the type of merchandise . And that is how Rivera painted it, which is why it is possible to discern how different one merchant is from another. Similarly, a man who gives a woman a human arm is striking, with blood still running. This is a kind of courtship , which according to other accounts was common in the 16th century.
Undoubtedly, representing an ancient text in a visual way is much more dynamic and playful for the inhabitants of this city. Maybe if it weren't for Diego Rivera and his magnificent works of the Mexica people, maybe we couldn't imagine what our past looked like?
www.cdmxtravel.com:
Between 1929 and 1935 Rivera gave life, on the walls of the central courtyard of the National Palace, to a series of works on the history of Mexico from pre-Hispanic times to the first two decades of the 20th century.
This mural represents the most important commercial exchange center in the region during the first years of the 16th century, where the streets specialized in products from the area and other regions of Mesoamerica such as pigments and jewels to the most exotic condiments.
You can see in the foreground the figure of a tlatoani walking the tianguis, while in the background appears, with great perspective, the Mexican city of Tlatelolco.
[...] In the Tlatelolco market, the enjoyment is noticed by not omitting detail, in the same way as in the detailed description of Bernal Dàaz del Castillo, eloquent, in addition, about the magnitude that trade must have had in the prehispanic world. [...]
Also in pre-Columbian commerce, an indispensable activity of pre-Hispanic man to acquire and distribute the products of his work, there are valuable elements to understand the implications of this activity in the cultural sphere.
In the grisailles in the lower part of the market there are corn planters; pickers of chili, tomato, pumpkin, potato, sweet potato and beans; cotton pickers; spinners and weavers; debrkers of amate; paper makers and healers. All are activities and jobs of daily life, of which different versions are given in the other sections of the corridor in question. [...]
Beatriz de la Fuente, in Diego Rivera today , 1986, p. 95.
www.wikipedia.org:
Diego Maràa de la Concepción Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodràguez, known as Diego Rivera (December 8, 1886 '' November 24, 1957), was a prominent Mexican painter. His large frescoes helped establish the mural movement in Mexican and international art.
Between 1922 and 1953, Rivera painted murals in, among other places, Mexico City, Chapingo, and Cuernavaca, Mexico; and San Francisco, Detroit, and New York City, United States. In 1931, a retrospective exhibition of his works was held at the Museum of Modern Art in New York; this was before he completed his 27-mural series known as Detroit Industry Murals.
Rivera had numerous marriages and children, including at least one natural daughter. His child and only son died at the age of two. His third wife was fellow Mexican artist Frida Kahlo, with whom he had a volatile relationship that continued until her death. He was married a fifth time, to his agent.
Due to his importance in the country's art history, the government of Mexico declared Rivera's works a"monumentos historicos".
Rivera was born on December 8, 1886, as one of twin boys in Guanajuato, Mexico, to Maràa del Pilar Barrientos and Diego Rivera Acosta, a well-to-do couple. His twin brother Carlos died two years after they were born.
His mother Maràa del Pilar Barrientos was said to have Converso ancestry (Spanish ancestors who were forced to convert from Judaism to Catholicism in the 15th and 16th centuries). Rivera wrote in 1935"My Jewishness is the dominant element in my life," despite never being raised practicing any Jewish faith, Rivera felt his Jewish ancestry informed his art and gave him "sympathy with the downtrodden masses". Diego was of Mexican, Spanish, Indian, African, Italian, Jewish, Russian, and Portuguese descent.
Rivera began drawing at the age of three, a year after his twin brother died. When he was caught drawing on the walls of the house, his parents installed chalkboards and canvas on the walls to encourage him.
After moving to Paris, Rivera met Angelina Beloff, an artist from the pre-Revolutionary Russian Empire. They married in 1911, and had a son, Diego (1916''1918), who died young. During this time, Rivera also had a relationship with painter Maria Vorobieff-Stebelska, who gave birth to a daughter named Marika Rivera in 1918 or 1919.
Rivera divorced Beloff and married Guadalupe Maràn as his second wife in June 1922, after having returned to Mexico. They had two daughters together: Ruth and Guadalupe.
He was still married when he met art student Frida Kahlo in Mexico. They began a passionate affair and, after he divorced Marin, Rivera married Kahlo on August 21, 1929. He was 42 and she was 22. ir mutual infidelities and his violent temper resulted in divorce in 1939, but they remarried December 8, 1940, in San Francisco, California. A year after Kahlo's death, on July 29, 1955, Rivera married Emma Hurtado, his agent since 1946.
Rivera was an atheist. His mural Dreams of a Sunday in the Alameda depicted Ignacio Ramàrez holding a sign which read,"God does not exis". This work caused a furor, but Rivera refused to remove the inscription. The painting was not shown for nine years '' until Rivera agreed to remove the inscription. He stated"To affirm 'God does not exist', I do not have to hide behind Don Ignacio Ramàrez; I am an atheist and I consider religions to be a form of collective neurosis.