«Retrato de Adolfo Best Maugard» de Diego Rivera, en el Lázaro Galdiano
El Museo Lázaro Galdiano presenta, gracias al apoyo y colaboración del Museo Nacional de Arte, INBA, de la Ciudad de México, el retrato del polifacético artista plástico y promotor de la cultura mexicana Adolfo Best Maugard (Ciudad de México, &#; Atenas, ), conocido como Fito Best, pintado por su amigo Diego Rivera durante la estancia de ambos en París.
Diego Rivera en París
Rivera se instaló en la capital francesa en , con su esposa la pintora rusa Angelina Beloff (), después de una breve estancia en Madrid y de haber viajado por París, Londres y diversas ciudades belgas. La pareja se alojó en el barrio bohemio de Montparnasse donde entablaron relación con Picasso, Braque, Delaunay, Mondrian, Modigliani y Chagall, así como con varios integrantes del movimiento futurista italiano. Coincidieron también con artistas mexicanos como Zárraga, Montenegro y Best Maugard, quien había llegado a París con el objetivo de copiar piezas arqueológicas prehispánicas por encargo de la Secretaría de Instrucción Pública y Bellas Artes mexicana.
El retrato de Adolfo Best Maugard ()
El monumental retrato pintado por R
Diego Rivera was living in Paris at the same time as Adolfo Best Maugard, who had been in Europe, at the behest of the Ministry of Education and Fine Arts, since for the purpose of making copies of Mexican archeological artifacts that were on exhibition in European museums. Rivera executed this metaphorically charged portrait, whose two planes display a strong stylistic contrast with each other, in The static, elongated, elegantly dressed protagonist stands out in the foreground, standing on a sort of red-railed balcony that distances him from, and raises him above the urban scene in the background i.e. the modern Paris of the time, with a train, factories whose chimneys billow forth clouds of smoke that give an impression of movement, urban buildings depicted in a Cubist style, a futuristically rapid train and, behind everything, a wheel of fortune spinning so dizzily that its spokes are blurred. The aforesaid wheel of fortune, reminiscent of the one built for the Paris Universal Exhibition, symbolizes technological progress. Rivera succeeded in connecting these two spaces, depicted in different styles, by using perspective to provide a visual link between the protagonist'
Adolfo Best Maugard, by Diego Rivera
In fall of Rivera and Beloff established themselves in a studio in Montparnasse, at the heart of bohemian Paris. This left-bank district was rapidly becoming the axis of a cultural vanguard from around the world. There, as the poet Guillaume Apollinaire declared, you could "now find the real artists." Indeed, Picasso took a Montparnasse studio in October , and Rivera's neighbors at 26, rue du Départ included the Dutch modernist Piet Mondrian. The avant-garde debates that fueled cubism proliferated in the cafes that Rivera began to frequent. There he made acquaintances including French artists Robert Delaunay and Fernand Léger, Italian Amedeo Modigliani, Japanese painter Tsuguharu Foujita, Polish painter Leopold Gottlieb, Lithuanian painter Chaim Soutine, and the Russian Marc Chagall. Rivera's exposure to what Marcel Duchamp termed "the first really international colony of artists" soon began to inform his work, with Montparnasse--particularly his own studio there - as a prominent new motif.
The commanding fall painting of fellow Mexican artist Adolfo Best Maugard with a view of the Gare Montparnasse from Rivera's studio can be consid
Retrato de Adolfo Best Maugard
En esta obra se perfila un hombre de figura alta y delgada. Posa en pie y de cuerpo entero sobre un balcón. En el retrato, mayor que el tamaño natural, el modelo es captado de abajo hacia arriba. Viste elegante e impecable un abrigo marino, pantalón gris, guantes de cabritilla marrón, y bastón enganchado al brazo. Al fondo aparece un paisaje urbano, formado por edificios y chimeneas fabriles en el que destaca al centro la Gran Rueda y, en la parte inferior, la estación de Montparnasse atravesada por un humeante tren.
A través del Retrato de Adolfo Best Maugard, Rivera plasmó su interés por captar el movimiento incesante de la vida "moderna". Desde el balcón de su estudio ubicado en la Rue du Départ el pintor reconstruyó un paisaje urbano con los símbolos que para él eran los más representativos de la "modernidad" parisina, caracterizada, en este caso, por el avance tecnológico: la Gran Rueda, la industrialización y el ferrocarril. En la búsqueda por un lenguaje que pudiera expresar el dinamismo, Rivera se remite a la obra de André
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