Mural painting has long been used to illustrate history, real and imagined: from ancient cave paintings of Lascaux, France to today’s contemporary images. Two very notable frescoes are Raphael’s School of Athens, from the Italian High Renaissance, and North American Modernist Diego Rivera’s Man, Controller of the Universe. Although created nearly 400 years apart, both pieces were conceived of and executed on the cusp of great change.
The year is 1508, and Pope Julius II has commissioned two famous artists to paint virtually side-by-side. Michelangelo is engaged in the painting of the Sistine Chapel’s ceiling and the young Raphael has been charted with illustrating the four branches of knowledge in the papal apartments. Of the branches of law, philosophy, poetry and religion, Raphael’s rendering of philosophy in School of Athens is arguably his highest accomplishment within the Vatican walls.
By this time, artists were becoming internationally renown, due to the ease of travel as well as to the mass distribution of their works, thanks in part to the printing press. This celebrity status along with the growing wealth of the middle and upper classes, allowed artists the opportunity to choose their commissions. They were no longer indebted to the monarchies or the church for work.
Socially, turmoil was on the horizon. The church was becoming more corrupt by the continual taxation of its parishioners for reasons of pride and for the selfish purposes of further increasing power and stature. On occasion, the Pope himself was known to have entered in the breaches of war. In less than ten years, Martin Luther will issue his Ninety-five Theses calling for reformation of the church. Within another decade, Charles V, the Holy Roman Emperor, will order the sack of Rome.
Under the increasing social tensions, Raphael deftly created the philosophers of School of Athens. The space within the papal apartments dictated the general shape of the fresco, that of an arch, and repeats many times within the composition. This repetition coupled with the congeniality amongst the men and women depicted creates a sense of ease, which was certainly lacking within the papal territories. At first glance, one notices the crowd of characters, separated into small groups of animated discussion. The gathering takes place within the confines of a building, most likely inspired by the design for the New St. Peter’s Cathedral. They are crowned by the outer arch of the fresco, which then repeats as the eye moves further into the space through two barrel vaults and a triumphant arch in the background. Under the closest coffered barrel vault, the two Greek philosophers, Plato and Aristotle, are silhouetted against the blue sky. Although this is an imagined scene, each of the historic figures double as a portrait of Raphael’s friends and contemporaries.
While this image represents the magnitude of man and the height of ideals, was it meant to inspire greatness amongst the ranks, or merely act as religious propaganda? Aside from concern of aesthetics and creating harmony with multiple forms, is the artist’s independent voice to be found anywhere in this fresco?
Now we skip ahead to the time of pregnant silence between the World Wars in the Americas. Following the end of World War I, the West experienced an economic crisis. In response, the Soviet Union was formed, Europe had reorganized and Lenin, Mussolini, Hitler and Franco came into power. The United States stock market crashed, and President Roosevelt created the New Deal in attempt to spur American social and economic recovery. South of the border, Mexico recovered from the fall of a decades long dictatorship and experienced a newly flourishing Mexican renaissance. The newly elected president commissioned artists to decorate public places with images of heroes and mythological and historical events to help develop national pride. Also during this time the technologies of war and peace advanced greatly as seen in the development of tanks and weaponry, but also in medicine, travel and media.
In 1934, Mexican muralist Diego Rivera accepted the commission from the Rockefeller family for the RCA Building in New York with the theme of Man at the Crossroads Looking with Hope and High Vision to the Choosing of a New and Better Future. A staunch Communist, Rivera created a complex fresco containing the images of influential individuals, including a portrait of Lenin. After Rivera refused to change the portrait at the Rockefellers request, the commission is called off, Rivera is paid and the mural destroyed. Incensed by what he called “cultural vandalism,†Rivera reproduced the image in Mexico City under the title of Man, Controller of the Universe.
Man… is a nearly 600 square foot social commentary on the ills of capitalism versus the benefits of socialism. The visually and figuratively dense mural features a centrally located man toiling with controls and gears before a space essentially divided in half vertically. Above him is a telescope, representing technology and the cosmos, and below is the earth fertile with agricultural advancements. Crossing dragonfly-like wing ellipses behind him, also contain reflections life in macroscopic and microscopic views. To the left, is the decadent, bourgeois life of the capitalist, which is prone to unrest, militarization and abuse of power. To the right, is the depiction of a socialist society, based on unity and benefiting all. Some of the famous influential people included on the left are Jean Harlow, Charlie Chaplin and John Rockefeller, Jr., as well as Lenin and Trotsky on the right.
Rivera’s fresco is a statement about morals and ideals, but conveys so through blanket polarization, not allowing any room for discourse and dialog. This leaves one wondering whether Rivera was ever able to reconcile these extremes for himself. Is the central figure an autobiographical, visual depiction of the struggle for moderation, of trying to maintain a balance between two opposite and opposing societies? After all, how can an artist who depended upon capitalist economies for commissions completely decry this segment of his patrons?
Rather than issuing extensive judgments like Rivera, Raphael focuses on communication. The philosophers are gathered together to challenge, encourage and collaboratively work towards the advancement of their field of study. They are relaxed, open and receptive as their environment mirrors. While Rivera mobilizes a united front against the enemy, Raphael instead joins with the opponents to engage in lively discussion and problem solving. I cannot help but speculate that many today’s leaders could benefit greatly from this technique.
[tags] Fresco, Raphael, High Italian Renaissance, Pope Julius II, Lascaux, New St. Peter’s Cathedral, Michaelangelo, Sistine Chapel, papal apartments, Vatican, Mexican Renaissance, Diego Rivera, Frida Kahlo, communism, socialism, capitalism, Lenin, Trotsky, Mussolini, Hitler, Franco, Roosevelt [/tags]
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