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基本説明
With more than 600 images by photographers and artists including Edward Weston, Tina Modotti, Diego Rivera, Fosé Clemente Orozco, this journal by the author of Idols Behind Altars and The Wind That Swept Mexico constitutes a spectacular portrait of the "Mexican Renaissance"
Full Description
The Mexican Revolution-that violent, inchoate, never-quite-complete break with the past-opened a new era in Mexican art and letters now known as the "Mexican Renaissance." In Mexico City, a coterie of artists including Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueiros explored how art could forward revolutionary ideals-and, in the process, spent countless hours talking, gossiping, arguing, and partying. Into this milieu came Anita Brenner, in her early twenties already trying her hand as a journalist, art critic, and anthropologist. Her journals of the period 1925 to 1930 vividly transport us to this vital moment in Mexico, when building a "new nation" was the goal.Brenner became a member of Rivera's inner circle, and her journals provide fascinating portraits of its members, including Orozco, Siqueiros, Rufino Tamayo, and Jean Charlot, with whom she had an unusual loving relationship. She captures the major and minor players in the act of creating works for which they are now famous and records their comings and goings, alliances and feuds. Numerous images of their art brilliantly counterpoint her diary descriptions. Brenner also reveals her own maturation as a perceptive observer and writer who, at twenty-four, published her first book, Idols Behind Altars. Her initial plan for Idols included four hundred images taken by photographers Edward Weston and Tina Modotti. Many of these images, which were ultimately not included in Idols, are published here for the first time along with stunning portraits of Brenner herself. Setting the scene for the journal is well-known Mexican cultural critic Carlos Monsivais, who offers an illuminating discussion of the Mexican Renaissance and the circle around Diego Rivera.
Contents
ForewordMonsivais)PrefaceAcknowledgmentsThe Context in 1925 November 1925: Getting StartedDecember 1925: The "Familia"The Context in 1926 January 1926: Working for GrueningFebruary 1926: Posing for WestonMarch 1926: Casting Off the SpiritsApril 1926: PatzcuaroMay 1926: Book Contract Comes ThroughJune 1926: San Agustin AcolmanJuly 1926: Gorgeous Weston and Modotti StuffAugust 1926: Posing for JeanSeptember 1926: Orozco's Mural InterruptedOctober 1926: Goitia's XochimilcoNovember 1926: Dia de MuertosDecember 1926: Pacheco ExhibitionThe Context in 1927 January 1927: With the Family in San AntonioFebruary 1927: AppendicitisMarch 1927: Getting into Secret FilesApril 1927: "You Are Too Young!"May 1927: Exploring YucatanJune 1927: Nacho Asunsolo vs. Diego RiveraJuly 1927: Posing for Tina ModottiAugust 1927: Hacienda La LlaveSeptember 1927: Moving on to New YorkOctober 1927: Enrolling at ColumbiaNovember 1927: TransitionDecember 1927: Full-fledged AnthropologyThe Context in 1928 January 1928: Promoting Mexican ArtFebruary 1928: Journalism ReemergesMarch 1928: MusicApril 1928: Writing for the EncyclopediaMay 1928: The Chalma DreamJune 1928: Cultural IdentityJuly 1928: Journalism and PhilosophyAugust 1928: Publisher FoundThe Context in 1929 and 1930: Published, Doctorate Awarded, and Married January 1929: Mella MurderedMarch 1929: Social WhirlMay 1929: Visiting the RockefellersJune 1929: Meeting Prince CharmingJuly 1929: Giving Siqueiros a HandAugust 1929: All about DavidSeptember 1929: Idols behind Altars PublishedOctober 1929: Being an AuthorNovember 1929: OverloadFebruary 1930: Catching Up with AcademiaMarch 1930: Guggenheim Grant and a WeddingEpilogueAppendixGlossarySelected BibliographyAnita Brenner Selected Bibliography, 1924-1930Index
