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Zapata (lithograph)
''Zapata'' (1932) is a lithograph by the Mexican artist Diego Rivera (1886–1957) that depicts the Mexican revolutionary Emiliano Zapata (1879–1919) as he holds the reins of a horse among a group of ''campesinos'' (peasants). The lithographic edition was created and printed twelve years after Zapata's assassination. Zapata is based on ''Agrarian Leader Zapata'' (1931), one of eight "portable" frescoes produced explicitly for Rivera's solo exhibition at the Museum of Modern Art (MoMA) in 1931, which was adapted from his previous ''Revolt'' panel from a fresco titled ''The History of Cuernavaca and Morelos'' (1929–30) painted in the Palace of Cortés, Cuernavaca.〔(Agrarian Leader Zapata ), Museum of Modern Art.〕 There were 100 original prints of the lithograph, many of which are in the collections of various art museums.
==Context==
In 1930, with his popularity on the rise with American audiences, Diego Rivera began to make lithographic prints for the American art market at the request of his gallerist, Carl Zigrosser, director of the Weyhe Gallery in New York, and Rivera's friend William Spratling. Rivera quickly adapted to the medium, admitting to Zigrosser that he had been seduced by the direct contact of the lithographic crayon to the stone's surface.〔Ittmann, John (2006). ‘Diego Rivera’ Mexico and Modern Printmaking: A Revolution in The Graphic Arts 1920 to 1950 p. 150.〕
In 1931 Diego Rivera became the second artist ever to hold a solo exhibition at the Museum of Modern Art, following Henri Matisse’s solo exhibition earlier that year. Rivera's exhibition was described as a "media event" and broke all museum attendance records at the time, drawing 56,575 attendees—more than double the attendance of the Mattisse show.〔P. Hurlburt, Lawrence (1989). "The Mexican Muralists in the United States" p. 123–127.〕 For this exhibition, Rivera created several "portable murals," based on details of his murals in Mexico, for the purpose of connecting public American interest in his work with the original frescoes. The murals proved portable in name only: each panel, constructed of concrete poured over an armature of iron and steel, weighed nearly 1,000 pounds. To disseminate the mural images more widely, Rivera and Zigrosser elected to reproduce them as lithographs, which were affordable and accessible. This lithograph, along with four others, was created at the George C. Miller Print Shop in New York and published in 1932 by the Weyhe Gallery in New York.〔Ittmann, John (2006). ‘Diego Rivera’ ''Mexico and Modern Printmaking: A Revolution in The Graphic Arts 1920 to 1950''〕 Rivera redrew the images for the prints himself and remained in New York after the MoMA exhibition to oversee their production.〔Indych-López, Anna (2009). ''Muralism Without Walls: Rivera, Orozco, and Siqeuiros in the United States, 1927'' p. 151–153.〕
That Rivera was urged to create these lithographs speaks to his popularity as a celebrated Mexican artist in the United States.〔Delpar, Helen (1992). The Enormous Vogue of Things Mexican. Cultural Relations between the United States and Mexico, 1920–1955. Tuscaloosa and New York: University of Alabama Press.〕 ''Zapata'', the fifth of this series of five, is Rivera's best known and most-admired print. As Lyle Williams points out, "Diego Rivera's lithograph ''Zapata'', 1932, is one of the seminal images of twentieth century printmaking, a landmark in the history not only of Mexican Art but of modern art." 〔Williams, Lyle W.(2006) 'Evolution of a Revolution: a Brief History of Printmaking in Mexico' in ''Mexico and Modern Printmaking: A Revolution in The Graphic Arts 1920 to 1950.''〕〔Ittmann, John (2006). ‘Diego Rivera’ ''Mexico and Modern Printmaking: A Revolution in The Graphic Arts 1920 to 1950'' p. 150.〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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