San Francisco Museum of Art, “Art in Action” exhibit, December 5, 1940 (SF Chron/AP photo)

Dear Friends of Diego,

On Diego’s 54^th birthday, December 8, 1940, he and Frida remarried in San Francisco’s City Hall, ending a year of being divorced.

After applying for a license on December 5, they had crossed Van Ness Avenue to take in the San Francisco Museum of Art’s (SFMA is now SFMOMA) Art in Action exhibit. It was an extension of the eponymous show at the recently closed Golden Gate International Exposition (GGIE), where Diego had painted his mural.  In June-July the SFMA had hosted Picasso’s Guernica, which was on a fund-raising drive for Spanish Civil War relief.  Diego had undoubtedly seen it and that is the main reason I feel there is a reference to Picasso’s work in lower Panel 4. (In early 1939 in Paris, Picasso had given Frida the “dangling hand” earrings, which she wears in her mural image.)

Around early September a shaken Frida came to San Francisco in the wake of the assassination of Leon Trotsky. She and her sister Cristina had been arrested as possibly complicit. Trotsky had lived in their family home, the Casa Azul, but, incriminatingly, the sisters had unwittingly invited the assassin Ramon Mercader over for lunch. Since Frida was divorced from Diego and her father was German, the police decided she wasn’t even a Mexican. She was stateless for several days but was hastily naturalized a Mexican citizen August 26 and the same day applied for a US visa. The visa application was displayed in the recent Frida show, Appearances Can Be Deceiving, at the DeYoung.

The next iteration of their marriage would be different. Dr. Leo Eloesser, Frida’s physician, who had checked her into St. Luke’s Hospital, brokered the pre-nuptial’s: they would share household costs, Frida would acknowledge that Diego would never be monogamous, and importantly, they would not have conjugal relationships. This last item seemed like a sentiment that might be suspect. But on a 2016 trip to Canada with my late Rivera partner Julia Bergman (who happily shared a December 8^th birthday with Diego), we perused a private cache of raw notes for Diego’s “autobiography” My Art, My Life. Diego confirmed that he and Frida never had conjugal relations in the last 14 years of her life. Since it wasn’t part of their deal, after 1940 neither of them could be “unfaithful”.

But the main indication that Diego and Frida’s relationship had passed a threshold was that after being released from St. Luke’s, prior to the second marriage, Frida had a brief affair in NYC with Heinz Berggruen, Diego’s translator and chauffeur at the GGIE.  Diego was on top of his game painting our mural according to Mona Hofmann, who had worked with him recreating the “Rockefeller’ mural at Bellas Artes in 1934. After Frida’s unanticipated appearance, Diego may have “brokered” her assignation to facilitate completing his half-finished mural. He introduced the married Heinz, who was no longer employed by the closed GGIE, to Frida at St. Luke’s Hospital. Heinz, an émigré from Germany in 1936, had married well to Lillian Zellerbach and had previously worked at the SFMA. It would seem, Frida’s fidelity was no longer an issue with Diego.

However, Frida had long ago seen the writing on the wall about Diego’s fidelity and had embraced her almost decade-long relationship with photographer Nick Muray in latter May 1931, when she hadn’t yet been married to Diego two years and while Rivera was finishing his mural at the San Francisco Art Institute. Paint on her famous wedding portrait, dated April 1931, might not yet have been fully dry. What might have Frida been thinking as she painted? How might this inform the extensive analysis of the painting’s imagery? It might be difficult to be dreamingly in love, when your eyes are wide-open. As far as I know, with the notable exception of Isamu Noguchi, Frida’s lovers up to 1940 were mostly married (Muray, Trotsky, Levy, Berggruen).

Last issue’s mention of artist Marion Greenwood culminated in a fortuitous connection with Joanne Mulcahy, the author of an upcoming biography. This led to sharing of the 1936 film footage of Marion and Diego, which a mural “friend” had recently showed me. Last time, I posed a question about whether Isamu Noguchi and Marion, former lovers, knew about the other’s affair with Frida and Diego. Joanne wrote me that Isamu and Marion were “tight” and probably shared secrets. If this was a soap opera, all the coincidences might seem too implausible. Meanwhile, all the parties were creating art. Multitasking is not new.

Since Frida and Diego’s relationship was so complex, I’ve long used a scientific metaphor to illustrate their behavior and the efficacy of their pact. (Too often, Frida is depicted as Diego’s “victim”, which takes away her volition and disempowers her.) Diego and Frida can be imagined as binary stars coupled by a profound gravity, which compels them to revolve around each other as they trace their trajectory through the cosmos. Their attraction is equal and opposite. Demonstrably, the forces binding them were stronger than the forces trying to separate them. Astronomer Isabel Hawkins put a cherry on top of the metaphor with a clever pun. She told me, “But, of course, Diego is the “Red giant.”’

http://www.modigliani.org/portrait-of-diego-rivera.jsp

In honor of Diego’s birthday, here is the Amedeo Modigliani portrait of Diego at 28 years of age.

One of the greatest aspects of SFMOMA’s siting of the mural is how low it is, one foot off the floor. As we witnessed, if it had been raised literally an inch higher, it would not have fit in the Roberts Family Gallery. The mural-move team had thought of everything. In my September FOD newsletter, the cover photo is of a young person getting a great view of the mural. Now the Uffizi Museum has lowered some famous art pieces to let the kids get a better look. The fact that the Pan American Unity mural was never installed 14’ high, as originally designed, has been a benefit of the proposed CCSF grand library never being built. If it had been built, I believe that both Timothy Pflueger and Diego Rivera would have been mortified by what they had done to the artwork. The mural is now 81 years old, this past November 29^th, and we’ve finally got it sorted out about how to display this masterpiece. Architects who will build the mural’s new CCSF home, recently examined the exemplary museum presentation. SFMOMA saved them a lot of work.

La Nuit des Idees is a world-wide event. On Thursday, January 27, 2022, I’ll be in SFMOMA’s booth at the Night of Ideas “(Re)building together” (at the new KQED studios) with former CCSF docent Vickie Simms to answer questions about the mural. Details to follow.

The issue of historical depiction is influencing the future of murals like the Victor Arnautoff murals at Washington High School. Historical filmmaker Ken Burns has made a very important and eloquent clarification: Being American means reckoning with our violent history.

In celebration of Diego’s 135^th birthday, his dream Anahuacalli Museum has reached a milestone with the completion of the surrounding complex.

Frida’s Diego y Yo has set a new price record for a Latin American work of art at a sale at Sotheby’s. However, it is still the murals that comprise the place closest to my heart. Happily, murals in Hawaii by Jean Charlot will be saved and donated to the people of the state.

As we continue to document the mural, one item still requires analysis. The 1-1/4” metal angle which forms the perimeter dam for the fresco plaster is of unknown composition. We know it is non-ferrous because it doesn’t attract a magnet. Was a special alloy used to ensure it didn’t react with the lime-rich fresco plaster? The tools available to analyze paintings keep proliferating and many had already been used in our mural work. The proposed technique to be used in México on a sample of the angle will likely be x-ray spectrophotometry. Every bit of information we can glean is our gift to future stewards of the mural.

Abrazos,

Will

Don and Will at the mural. (Photo: Kathé Cairns)

 

Dear Friends of Diego,

Here is the link to the NBC documentary on the mural move.

To celebrate the birthday of Donald Cairns, the little boy in the mural, 30 of his church members came out to SFMOMA for a Saturday tour. Emmy Lou Packard’s son was only 5 years old when he posed for the mural. Years ago, Donald gave my late Rivera partner Julia Bergman access to Emmy Lou’s papers, our first cache of primary resource material. Julia flew to Philadelphia, where the Cairns then lived, and photocopied like crazy. Emmy Lou had spent years doing research for a never-written Diego Rivera in San Francisco book. Her first-hand experience as Rivera’s assistant/secretary on Pan American Unity resulted in many insights. But, not having initially been the primary assistant left holes in the narrative, which were often filled by architect Timothy Pflueger’s papers, our second cache of primary source materials. These copies were kindly provided by nephew John Pflueger.

Over the years many “friends” have been very generous in sharing information. Recently, I was directed to a private party who had some interesting material about Diego, including a painting that will be in SFMOMA’s Diego Rivera’s America exhibit next summer.  1936 film footage of an affectionate Diego with artist Marion Greenwood was enlightening. It may answer a question I’ve had for some time. How did Isamu Noguchi and Frida get away with an eight month affair? The affair only came to an abrupt end when the bill for their love-nest furniture was mistakenly delivered to Rivera. It appears that Diego may have been preoccupied elsewhere.

Archives of American Art,  Marion Greenwood Papers

Both Isamu and Marion, who had previously known each other romantically as art students in Paris, were part of the muralism program at the Mercado Abelardo Rodriguez in Mexico City, nominally under the direction of Diego. An intriguing aspect is whether Isamu and Marion knew what the other was up to? Isamu, who had done a bronze bust of George Gershwin in 1929, was present when the great composer visited México in November 1935. In 1925 Miguel Covarrubias had done a Gershwin caricature for his book, The Prince of Wales and Other Americans, and was also present to greet Gershwin. Gershwin’s copy of the book is one of my prized possessions. Coincidently, both Marion and Gershwin were from Brooklyn.

Feliz Cumpleaños to our dear friend Dra. Guadalupe Rivera Marin, Diego’s daughter, whose birthday is October 23. I send along Pedro Infante and Las Mañanitas. Having recorded an interview with her in 1999, in May 2006 she invited Julia Bergman and me to Mexico City for her Encuentro Internacional de Pintura Mural. This encounter of a couple of hundred muralists from all over the world was a highlight of all the years working on mural research. Last time I saw her in San Francisco at the Brava Theater in June 2018, I gave her a framed photo of herself as an eleven year old, with her sister Ruth and Diego in front of the cactus fence at the Casa-Estudio. The photo was taken by George Gershwin (and given with permission from the Gershwin Trust).

History Matters in the Mission, a street procession with live music and theater, will be performed Saturday Oct. 23 (12-6 pm) in our beloved Mission district, San Francisco.

Have spent a lot of time with the mural and it’s always fun to see friends. So many people have already seen the mural at SFMOMA in its first four months. Occasionally, the visitors have known the mural and can best appreciate the startingly change in venue. The added depth of the lobby allows a comprehensive view in addition to the close-up view of paint strokes. When the morning raking sunlight hits the mural, it seems to shimmer. (Frescos are impervious to UV light.) Similarly, I got to see the mural at 11 pm, while walking back from a Giants game. It is an Edward Hopper moment seeing Diego’s nighthawks showcased, when everything else is darker.

At a recent lunch graciously hosted by the City Club for representatives of the various groups who participated in the mural move, our fresco conservators Anne Rosenthal and Kiernan Graves got to inspect Rivera’s Allegory of California  (link to my late colleague Masha Zakheim’s essay), which adorns the stairwell between the 10^th and 11^th floors. It’s a shock after the last several years to not have these people in my life on a daily basis, even if it was often Zoom. On the days we do get together, we try to cram as much friendship as we can into one day. Hopefully, the “home” team will reconvene down the road to escort the mural back to City College. A new Chancellor, Dr. David Martin, will start November 1. Back in 2015 as a financial officer at CCSF, he facilitated transferring funds from the CCSF Foundation to the College so that we could do the initial photogrammetry shoot. The amazing results are now posted at Stanford University.

Had a nice mural visit with Susan Kirk, niece of the late Oakland-born artist Marjorie Eaton. We had been connected years ago by John Crosse, whose blog has been an indispensable resource to me. Ms. Eaton had an adventurous life. She lived in Taos after driving there by herself in a Model A and found the love of her life. She hung out with Diego and Frida in NYC (where she roomed with Louise Nevelson) and later stayed at the Casa Azul and lived in Mexico. Later, she gave up painting and became an actress, playing the original role of Emperor Palpatine in Star Wars: The Empire Strikes Back and appearing in Mary Poppins. Marjorie is a great example of the profound Mexican influence on artists from the United States.

The Victor Arnautoff murals at Washington High School just got a favorable ruling from the judge, which will prevent them from being painted over or destroyed by the SFUSD. Congratulations to Lope Yap, Jr. and to all the people who stepped up to save the San Francisco treasures. ¡Si se puede! (However, the school board is appealing.)

There was also a U.S. judgement in the ongoing battle between Frida Kahlo’s family and the Frida Kahlo Corporation. Diego left the intellectual/artistic rights for his and Frida’s works (e.g., rights to reproduce images of their artworks) to México. Other rights to the lucrative  commodification of Frida (e.g., rights to make Mattel’s Frida Barbie doll) have been contested. How hot is Frida? Frida’s Diego y Yo, is getting ready to set a record at a Sotheby’s auction in November. Since the work is outside México (it’ll be displayed in Hong Kong, London, and NYC), it is not designated part of the Mexican national patrimony, which precludes it leaving the country, even after a sale.

There was a very nice piece recently on the Hijos del Sol, whom I’ve had the honor to do mural tours for in the past. They provide nourishment for the soul.

Diego Rivera’s Pan American Unity Part 1 – YouTube: Link to my recent presentation and Q&A for the Community Living Campaign. This group “uses the power of relationships to reduce isolation and to eliminate barriers to aging in community.”

Abrazos,

Guillermo

 

 

Dear Friends of Diego,

The main emotion I’m feeling is gratitude. To the team, to my late Rivera partner, Julia Bergman (because you should never forget the person you came to the dance with), and to all the people who helped, please know that you did a great job. This project has been a feather in the cap for every participant. Appropriately, the indigenous peoples of the Americas placed great value on feathers. Exciting connections and opportunities for the mural are flooding in. Have spent a lot of time with the mural watching people engaged with all the mesmerizing imagery. The beautifully renewed and well-publicized mural sends its sincere thanks.

Our gracious UNAM collaborators’ Spanish-language magazine article is fresh off the press (a YouTube Video of the project is embedded in the article. The end of the  article lists the UNAM team members.)

Here are links to: Cultural Heritage Imaging’s Photogrammetry work, Diego Rivera’s San Francisco Masterpiece – Spotlight at Stanford  and/or Scientific Imaging of Diego Rivera’s ‘Pan American Unity’ Mural | Stanford Libraries; Forbes magazine; NBC’s California Live; an KQED Morning Edition segment; and the NYT Link.

Two of my Zooms are coming up: September 13 for the Community Living Campaign  and September 15 for the Osher LLI. (Though having similar introductions, they have different second halves.)

[The link for the NBC Bay Area ½ hour mural move documentary, broadcast on July 2, has yet to be posted.]

Abrazos,

Will, a proud team member

On a sad note, Nieves Orozco, one of Diego’s favorite models, whom Julia and I had the great honor to interview in 2006, passed away May 29 (August 5, 1922-May 29, 2021). In 1940, divorced from Frida, Diego publicly announced he would next marry Nieves. She famously is the Desnudo con Alcatraces. She told me that she posed with her back to the artist because she was pregnant. She was also Paulette Goddard’s attendant in the portrait Diego did of the movie star and Nieves gave us insight into how Paulette’s brief entry into our story radically changed the course of Diego’s life. Que descanse en paz.