Comparison of Art: Diego Rivera's History of Mexico and Michelangelo

This essay provides a comparative analysis of Diego Rivera’s 'History of Mexico' fresco and Michelangelo’s 'Last Judgment,' exploring their depictions of religious figures and societal representation. It contrasts the circumstances surrounding the creation of each fresco, noting Rivera's portrayal of Mexican civilization, cultural displacement by Spanish Christians, and political undertones related to the Mexican Revolution. Conversely, it examines Michelangelo's representation of the biblical Day of Judgment, emphasizing the Renaissance context and religious control over artistic expression. The essay also highlights the significance of the National Palace in Mexico City and the Sistine Chapel as venues that reflect the artists' respective political and religious inclinations. Desklib offers similar solved assignments and resources for students.

Running head: COMPARISON OF ART
COMPARISON OF ART
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Author Note

1COMPARISON OF ART
Compare Diego Rivera’s History of Mexico fresco to Michelangelo’s Last Judgment. Both
depict religious figures and represent a society or civilization. How are the circumstances in
which Rivera and Michelangelo created these frescoes different? What is the relevance of
the buildings in which the frescoes were made?
The History of Mexico by Rivera, at the National Palace in Mexico City is replete with
the imageries and symbolisms related to the Aztec religion, the Sun God depicting the center of
the world, the Pyramids, the Snakes, the Jaguars and the people dancing in a state of intoxication
in the honour of the Sun God. The Christian elements is also present in form of the images
depicting the Catholic Priests from Spain (McAllister, 2016). The Last Judgement by
Michelangelo at the Sistine Chapel in Vatican City depicts the coming of the Christ to judge the
living and the dead as mentioned in the Christian prayer, The Apostles Creed. The upper part of
the painting denotes the heaven and the lower the earth. At the center is the figure of Christ, and
in his periphery the images of saints protecting the virtuous and punishing the damned ones
(Patrides, 2016).
Rivera portrays the vibrancy of Mexican civilization and the attempt of cultural
displacement perpetrated by the Christians from Spain, through the means of juxtaposing
Christian and Mexican religious elements. His painting is quite political and is symbolism of the
agony, rebellion and the pride that the Mexicans take in their past and original culture. Through
the depiction of enforcement of Christianity, Rivera had tried to show one of the facets of the
Mexican Revolution. The religiosity in the painting also depicts the hint of Renaissance
(McAllister, 2016). Michelangelo on the other hand portrays the core message of the Bible that
the virtuous ones shall go to heaven with the saints and the sinners shall suffer eternally, in an
unrefined way through the depiction of the biblical prophecy of the Day of Judgement. The
painting marks the proliferation of art in the period of Renaissance that originated in Florence
and spread throughout Europe. The naked saints, which were later covered up at the behest of
Pope Paul 3 shows that the freedom to express through art was however not aloof of religious
control. This is the difference between the circumstances (Patrides, 2016).
The National Palace, the Palace of the President of Mexico built by displacing the Palace
of Aztec Emperor Moctezuma, where Rivera’s painting has been displayed is symbolic of his
political inclination of opposing the European colonization and the displacement of the
indigenous people of Mexico (McAllister, 2016). The Sistine Chapel, where Michelangelo’s The
Last Judgement has been displayed signifies the role of Christian Clergies to encourage the
spread of art and the Renaissance movement (Patrides, 2016).

2COMPARISON OF ART
References
McAllister, S. (2016). Visual Discourses of Colonialism, Interracial Sex, Resistance, and Nation-
Building in Mexico, 1711-1810.
Patrides, C. A. (2016). The grand design of God: the literary form of the Christian view of
history. Routledge.