Houtsnijwerk van Diego Rivera in de deur van een kapel bij de Universidad Autónoma Chapingo in Texcoco, Mexico, Ed van der Elsken, 1960
#AutónomaChapingo #Texcoco #Mexico #EdvanderElsken #LOSMALOS #DiegoRiveras #fotografie #photography #EdVanDerElsken #EdvanderElsken
Fragment van de muurschildering 'El hombre controlador del universo' door Diego Rivera in het Paleis voor Schone Kunsten in Mexico-Stad, Ed van der Elsken, 1960
#Elhombre #DiegoRivera #voorSchoneKunsten #Mexico #EdvanderElsken #DiegoRiveras #Rivera #fotografie #photography #EdVanDerElsken #EdvanderElsken
![The image depicts a relief sculpture in black and white. It features two figures, possibly of historical or allegorical significance, given their stylized nature. The figure on the left appears to be wearing a wide-brimmed hat and is holding what seems like rolled-up documents with both hands. Above this character's head is an inscription that reads "ESTOS SON." Another word follows below it, partially obscured but suggestive of continuation or context.
The right-hand figure also wears a brimmed hat, has glasses on their forehead, and appears to be speaking or gesturing towards the left figure. Their expression seems earnest or assertive. Above this character's head is another part of an inscription that reads "LOS MALOS." Another word follows below it but remains incomplete in the image.
Both figures are adorned with intricate patterns on what could represent their attire, and they seem to be set against a backdrop with various symbols or emblems embedded into its surface. The overall craftsmanship indicates a work rich in detail and possibly symbolic meaning, reflecting themes of justice, social commentary, or historical narrative.
The bottom part of the sculpture includes more text that is partially obscured by shadowing but suggests "AGRICULTURA" which might be connected to agriculture as indicated further below with additional words like "TIJODE" and "EL ING." The [...]](/proxy/post_attachment/387304/272a2edb3a.jpeg "The image depicts a relief sculpture in black and white. It features two figures, possibly of historical or allegorical significance, given their stylized nature. The figure on the left appears to be wearing a wide-brimmed hat and is holding what seems like rolled-up documents with both hands. Above this character's head is an inscription that reads \"ESTOS SON.\" Another word follows below it, partially obscured but suggestive of continuation or context.
The right-hand figure also wears a brimmed hat, has glasses on their forehead, and appears to be speaking or gesturing towards the left figure. Their expression seems earnest or assertive. Above this character's head is another part of an inscription that reads \"LOS MALOS.\" Another word follows below it but remains incomplete in the image.
Both figures are adorned with intricate patterns on what could represent their attire, and they seem to be set against a backdrop with various symbols or emblems embedded into its surface. The overall craftsmanship indicates a work rich in detail and possibly symbolic meaning, reflecting themes of justice, social commentary, or historical narrative.
The bottom part of the sculpture includes more text that is partially obscured by shadowing but suggests \"AGRICULTURA\" which might be connected to agriculture as indicated further below with additional words like \"TIJODE\" and \"EL ING.\" The [...]")
![The image is a black and white photograph of Diego Rivera's mural "El hombre controlador del universo" (Man Controller of the Universe), which appears to be printed on paper or canvas. The artwork depicts various figures in what seems like an industrial setting, with machines and mechanical elements prominent throughout. Central to the composition is a large machine that looks both biological and technological—a complex organ-like structure with intricate details—surrounded by multiple human forms interacting with it.
The upper portion of the mural shows individuals focused on their tasks, possibly working within this grand mechanism. The right side features a group of figures gathered around another man who appears to be addressing or instructing them. Their expressions are varied, suggesting concern and discussion. On the left, an individual is holding what seems like a large clock or gauge with multiple dials.
The mural contains abstract swirls and circular patterns that suggest movement and complexity within this scene. The overall composition conveys themes of control, industry, and perhaps the relationship between humans and technology during Rivera's time period.
Rivera was known for his murals which often depicted social issues such as industrialization, labor rights, and critiques of capitalism. This particular work reflects those interests through its portray [...]](/proxy/post_attachment/402308/1e089d3423.jpeg "The image is a black and white photograph of Diego Rivera's mural \"El hombre controlador del universo\" (Man Controller of the Universe), which appears to be printed on paper or canvas. The artwork depicts various figures in what seems like an industrial setting, with machines and mechanical elements prominent throughout. Central to the composition is a large machine that looks both biological and technological—a complex organ-like structure with intricate details—surrounded by multiple human forms interacting with it.
The upper portion of the mural shows individuals focused on their tasks, possibly working within this grand mechanism. The right side features a group of figures gathered around another man who appears to be addressing or instructing them. Their expressions are varied, suggesting concern and discussion. On the left, an individual is holding what seems like a large clock or gauge with multiple dials.
The mural contains abstract swirls and circular patterns that suggest movement and complexity within this scene. The overall composition conveys themes of control, industry, and perhaps the relationship between humans and technology during Rivera's time period.
Rivera was known for his murals which often depicted social issues such as industrialization, labor rights, and critiques of capitalism. This particular work reflects those interests through its portray [...]")