"Engrossing as a novel hellip; throws a clear white light on one of the most spectacular artists of our time." mdash; Chicago Sunday TribuneThis remarkable autobiography began with a newspaper interview the artist gave journalist Gladys March in 1944. From then until the artists death in 1957; she spent several months each year with Rivera; eventually filling 2;000 pages with his recollections and interpretations of his art and life. Written in the first person; this book is a richly revealing document of the painter who revolutionized modern mural painting; was a principal figure in launching the "Mexican Renaissance;" and is ranked among the most influential artists of the twentieth century.As the colorful narrative unfolds; Diego Rivera seems always to be in the midst of political; artistic; and romantic turmoil. As the reviewer for The New Republic observed; "Rivera reveals a keen appreciation of this prowess in art; sex; and politics; and the record seems to be complete on the series of spectacular rows he got into over all three."The book details his bold confrontations with dictators and presidents; the battles that erupted over his murals in Rockefeller Center and the Hotel del Prado; his tempestuous marriages to Lupe Marin and artist Frida Kahlo; and much; much more. "There is no lack of exciting material. A lover at nine; a cannibal at 18; by his own account; Rivera was prodigiously productive of art and controversy." mdash; San Francisco Chronicle. 21 halftones.
#394788 in eBooks 2012-04-26 2012-04-26File Name: B00A73FCPS
Review
0 of 0 people found the following review helpful. Great ReadBy Reed D.Great book. Love Stanley Kubrick and this fueled that fire. Great analysis into his movies and other unmade movies. Just wish he was still alive.0 of 1 people found the following review helpful. Excellent summary of MoviesBy NottilI really enjoyed this book and found much I didnt know. Great amount of detail and I now wonder what Mr. Kubrick would have done had he lived another 20 years.....13 of 19 people found the following review helpful. Seriously flawedBy hovercraftThis book could have been an enjoyable and useful resource; but unfortunately it is riddled with factual errors. I can only recommend this to researchers who are able to verify the information within before using this book as a source. Anyone else will have to guess which information is correct and which is false. (Examples: on page 173; Hughes states that the 1.66:1 ratio; which SK adopted for A Clockwork Orange; was subsequently used on Barry Lyndon; The Shining; and Full Metal Jacket. This is completely wrong. Barry Lyndon was shot in 1.77:1; and The Shining and Full Metal Jacket were shot in 1.33:1 and projected in 1.85:1-though the DVD and video version of the latter 2 films preserved the original 1.33:1 format. Another mistake is a quote supposedly from The Film Director as Superstar by Michel Ciment. Since Joseph Gelmis was the author of this book; and Ciment the author of another; it will take some detective work to figure out which Hughes means.)