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 #DiegoRivera #Rivera #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 black-and-white photograph of an intricately carved metal plaque. The relief sculpture portrays two men in top hats, with one wearing glasses and the other sporting curly hair, suggesting they may represent characters from historical or allegorical contexts. They stand against a backdrop that includes inscriptions such as "ESTOS SON LOS MALOS" at the bottom, which translates to "These are the BAD ONES," indicating some form of moral judgment is being conveyed through this artwork. The men's expressions and attire imply they might be personifications of vices or societal issues.
The plaque also features a large coin with an ornate design in its center, surrounded by text that appears too small for detailed interpretation but suggests further narrative elements. Additionally, there are symbols such as a dollar sign on the right side of the top hat and what looks like crossed tools or instruments near their feet, adding layers to the allegorical nature of this piece.
The craftsmanship is highly detailed, with shadows cast by the carving enhancing its three-dimensional effect against a flat surface. The plaque's border frames it neatly within the photograph. Given that Diego Rivera was known for his murals and public art involving social themes, this work could be an example of his broader artistic output addressing societal issues through visual storyte [...]](/proxy/post_attachment/390545/8248bb2735.jpeg "The image depicts a black-and-white photograph of an intricately carved metal plaque. The relief sculpture portrays two men in top hats, with one wearing glasses and the other sporting curly hair, suggesting they may represent characters from historical or allegorical contexts. They stand against a backdrop that includes inscriptions such as \"ESTOS SON LOS MALOS\" at the bottom, which translates to \"These are the BAD ONES,\" indicating some form of moral judgment is being conveyed through this artwork. The men's expressions and attire imply they might be personifications of vices or societal issues.
The plaque also features a large coin with an ornate design in its center, surrounded by text that appears too small for detailed interpretation but suggests further narrative elements. Additionally, there are symbols such as a dollar sign on the right side of the top hat and what looks like crossed tools or instruments near their feet, adding layers to the allegorical nature of this piece.
The craftsmanship is highly detailed, with shadows cast by the carving enhancing its three-dimensional effect against a flat surface. The plaque's border frames it neatly within the photograph. Given that Diego Rivera was known for his murals and public art involving social themes, this work could be an example of his broader artistic output addressing societal issues through visual storyte [...]")
![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 [...]")