Diego Rivera (1886-1957)
- Diego Rivera
- signed lower left
- 21 1/2 by 25 1/2 in.
- (54.3 by 64.8 cm)
- Painted in 1918.
Barbara Storke, San Francisco
Private Collection, San Francisco
Private Collection, New York
Mexico City, Instituto Nacional de Bellas Artes/Museo Nacional de Artes Plásticas, Diego Rivera: 50 años de su labor artística, 1949, no. 106
Hans F. Secker, Diego Rivera, Dresden, 1957, no. 24, illustrated
Florence Arquin, Diego Rivera - The Shaping of an Artist 1889-1921, University of Oklahoma Press, Oklahoma, p. 95, no. 63, illustrated
Diego Rivera: Catálogo General de Obra de Caballete, Instituto Nacional de Bellas Artes, Mexico City, 1989, p. 43, no. 273, illustrated
By the fall of 1917, Diego Rivera had abandoned cubism and initiated a series of artistic experiments based on the work of Paul Cézanne. Rivera also remained quite fascinated by the mathematical theories of Jules Henri Poincaré that offered him the possibility of exploring the representation of a fourth dimension in painting. Rivera was particularly interested in the possibility of capturing the idea of dynamic movement, much like centrifugal perspective, the former would allow him to arrange all of his compositional elements within the same spacial and temporal coordinates. In this painting of the acqueduct of the Villa of Arcueill, near Paris, the optic illusion or distortion that is visible in the background is a result of this experimentation. Far from abandoning the lessons of cubism, Rivera remained interested in breaking new ground with regards to the compositional space, an area of concern that he would eventually take to its ultimate consequences after 1921 through his mural paintings.
Professor Luis-Martín Lozano