Quotes by Diego Rivera

“If I ever loved a woman, the more I loved her, the more I wanted to hurt her. Frida was only the most obvious victim of this disgusting trait.”

“Through her paintings, she breaks all the taboos of the womans body and of female sexuality.”

“Never before had a woman put such agonizing poetry on canvas as Frida did at this time in Detroit.”

“I did not know it then, but Frida had already become the most important fact in my life. And would continue to be, up to the moment she died, 27 years later.”

“July 13, 1954 was the most tragic day of my life. I had lost my beloved Frida forever. To late now I realized that the most wonderful part of my life had been my love for Frida.”

“What do you mean the banks of the river?. Are/ you the banks of Diego Rivera? I will be/ remembered throughout history and already my/ little Frida has forgotten.... Who first put a/ paint brush in your hand? ... And now you/ have become the banks to contain me? No,/ Frida, you have forgotten the real truth. You/ are a stone in the mighty river. A lovely/ speckled stone.”

An artist is above all a human being, profoundly human to the core. If the artist can’t feel everything that humanity feels, if the artist isn’tcapable of loving until he forgets himself and sacrifices himself if necessary, if he won’t put down his magic brush and head the fightagainst the oppressor, then he isn’t a great artist.

I knew how one climbing the mountain of worldly success can slip down into the river below without being conscious of the descent till he is already drowning.

Looking back upon my work today, I think the best I have done grew out of things deeply felt, the worst from a pride in mere talent.

From sunrise to sunset, I was in the forest, sometimes far from the house, with my goat who watched me as a mother does a child. All the animals in the forest became my friends, even dangerous and poisonous ones. Thanks to my goat-mother and my Indian nurse, I have always enjoyed the trust of animals--a precious gift. I still love animals infinitely more than human beings.

I spent the two and one-half months between my meeting with the Art Commission and the beginning of my actual mural work in soaking up impressions of the productive activities of the city. I studied industrial scenes by night as well as by day, making literally thousands of sketches of towering blast furnaces, serpentine conveyor belts, impressive scientific laboratories, busy assembling rooms; also of precision instruments, some of them massive yet delicate; and of the men who worked them all. I walked for miles through the immense workshops of the Ford, Chrysler, Edison, Michigan Alkali, and Parke-Davis plants. I was afire with enthusiasm. My childhood passion for mechanical toys had been transmuted to a delight in machinery for its own sake and for its meaning to man -- his self-fulfillment and liberation from drudgery and poverty. That is why now I placed the collective hero, man-and-machine, higher than the old traditional heroes of art and legend. I felt that in the society of the future as already, to some extent, that of the present, man-and-machine would be as important as air, water, and the light of the sun.This was the philosophy, the state of mind in which I undertook my Detroit frescoes.

I am an atheist and I consider religions to be a form of collective neurosis. I am not an enemy of the Catholics, as I am not an enemy of the tuberculars, the myopic or the paralytics; you cannot be an enemy of the sick, only their good friend in order to help them cure themselves.

As an artist I have always tried to be faithful to my vision of life, and I have frequently been in conflict with those who wanted me to paint not what I saw but what they wished me to see.

Marx made theory... Lenin applied it with his sense of large-scale social organization... And Henry Ford made the work of the socialist state possible.

While working in California, I met William Valentiner and Edgar Richardson of the Detroit Institute of Arts. I mentioned a desire which I had to paint a series of murals about the industries of the United States, a series that would constitute a new kind of plastic poem, depicting in color and form the story of each industry and its division of labor. Dr. Valentiner was keenly interested, considering my idea a potential base for a new school of modern art in America, as related to the social structure of American life as the art of the Middle Ages had been related to medieval society.