Muralism - The Creative Adventurer https://thecreativeadventurer.com A Travel Guide for Exploring the World Wed, 25 Jan 2023 14:38:29 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.4 https://i0.wp.com/thecreativeadventurer.com/wp-content/uploads/2020/01/cropped-NewCreativeAdventurerLogo_250x250_v1.png?fit=32%2C32&ssl=1 Muralism - The Creative Adventurer https://thecreativeadventurer.com 32 32 171399271 The Ultimate Guide to the Architectural Wonders of UNAM Campus in Mexico City https://thecreativeadventurer.com/the-ultimate-guide-to-the-architectural-wonders-of-unam-campus-in-mexico-city/?utm_source=rss&utm_medium=rss&utm_campaign=the-ultimate-guide-to-the-architectural-wonders-of-unam-campus-in-mexico-city https://thecreativeadventurer.com/the-ultimate-guide-to-the-architectural-wonders-of-unam-campus-in-mexico-city/#comments Fri, 29 Apr 2022 12:53:38 +0000 https://thecreativeadventurer.com/?p=31719 Every time I go to Mexico City, I come with a checklist of things I still...

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]]> Every time I go to Mexico City, I come with a checklist of things I still have yet to see and do. And no matter how many items I tick off the list, I always come home with a new list twice as long. Every time I meet someone new, a seasoned local, we always get to chatting and they tell me about new, more incredible places I just have to see. This Spring, I finally made it out to see the great UNAM campus. UNAM has been on my list forever. And yet every time I somehow managed to miss it. But this time I made a point to not let that happen. And I was thrilled to walk out onto the quad and see all the outstanding architecture that surrounds it.

About UNAM

UNAM stands for Universidad Nacional Autónoma de México and is the largest university in Latin America and has one of the biggest campuses in the world! The mesmerizing central library is the highlight of the campus, designed by the illustrious architect and painter Juan O’Gorman. The library’s mural is designed like a codex, filled with symbolic imagery to decipher. I could have sat there for hours just looking at it. But it is not the only building embedded in hidden symbols and rich history. There is so much to see here that lends itself to a better understanding of this amazing city.

But happenstance, we arrived on graduation day. The ceremony had just finished, but many graduates were still milling around in their gowns on. Taking pictures, hugging their family and friends, smiles brimming across their faces. Lots of them were camped out on the lawn having a snack in the sunshine taking in this important moment. It was such a joyful time to visit and definitely worth the drive! 

About this Guided Tour

While walking around the campus, there isn’t much informational signage for tourists, it’s a working campus, after all. So I wanted to create this guide to help visitors and guests contextually explore this fantastic architectural wonder and mini-city. The entire campus is a tremendous example of Mexican Modernist architecture, which defined the landscape 70 years ago. So much so that the entire place was honoured as a UNESCO World Heritage Site in 2007. But being able to have a better understanding of who made the buildings and why will really improve your experience of touring the UNAM campus!

Table Of Contents
  1. About this Guided Tour
  2. Access
  3. History
  4. Architecture
  5. Estadio Olímpico Universitario
  6. Campus Balcony
  7. Rectory Tower 
  8. The People to the University, the University to the People
  9. New Symbol of the University
  10. Dates of the History of Mexico
  11. Central Library
  12. North Wall | The Pre-Hispanic Past
  13. Tlaloc
  14. South Wall | The Colonial Past
  15. Tlaloc Fountain
  16. East Wall Mural | The Contemporary World
  17. Viva la Revolution
  18. West Mural | UNAM and Mexico Today
  19. The Faculty of Architecture Building
  20. The Conquest of Energy Mural
  21. The Return of Quetzalcóatl
  22. Quetzalcóatl
  23. Chemistry Building Mural
  24. Cosmic Ray Pavilion 
  25. Faculty of Medicine Mural 
  26. Overcoming of Man through Culture
  27. Visiting the South Campus

Access

The UNAM Ciudad Universitaria (University City) is located in the southern part of Coyoacán. Visiting the campus is a great thing to do either in tandem with a visit to Coyoacán or San Angel.

Where & When to Arrive

Although the campus is located in the neighbourhood of Coyoacán, it is pretty tough to walk to from central Coyoacán. The best way to get there is via Uber. The entire campus sprawls over 1,000 hectares (2,500 acres), but the most important architectural structures can be found in the northern section. There are several parking lots around the library that can be used for drop-off and pick-up locations.

The best time to visit the campus is on weekends, particularly Sundays. This way, you’re not getting in the way of students and teachers on their way to classes. On the weekend, the wide-open green spaces of the campus are popular with families and students. They come here to relax, enjoying the patios, gardens and footpaths. During the springtime, the Jacaranda trees here are absolutely spectacular! So if you’re visiting the city during their blooms this is one of the biggest hidden gem places to see them.

Access around the Campus

UNAM has the word “autonomous” in the title because the campus itself truly is almost like its own little city. They have their own private security and police, fire department. And even their own public transport. The Pumabús run around the campus and to the main metro stations. The buses are free and generally run pretty frequently during the week. If you’re trying to reach the further afield parts of the campus, this can be great to hop on. You can check out the various routes here.

History

The history of the university dates all the way back to 1520. When the Spanish invaded ancient Tenochtitlan, one of the first things the king of Spain established was a university. But from 1533 to 1867, this university was controlled by the Roman Catholic church. So despite its modern educational resources, the curriculum was greatly influenced by religious orders. Because of this, many students felt they were being impeded from studying modern philosophical and scientific developments that were happening around the rest of the world.

In 1810, the last controlling Spanish forces were defeated by the Mexican insurgent army. The country was free and a new wave of revolution spread across the country. In 1867, the old Spanish University was closed by the government of Benito Juarez. After its closure, several independent schools opened up to teach everything from law, medicine, engineering, and architecture.

The Creation of UNAM

In 1910, President Porfirio Díaz saw the potential of these various disparate organizations. He organized to join them together to form the new National University, the new UNAM. The university’s aim was to develop a new Mexican identity and create a new model to drive the country into the future. 

Tlatelolco Protest

Sadly, the very revolution that was meant to free the students from the control of the Spanish educators would only lead to a new form of control. In the 1920s, all Mexican universities were placed under government control. This went on to include UNAM in 1929. Over the years, this led to much internal turmoil leading up to the historic Tlatelolco protests in 1968. Only days before the 1968 Olympics, a student demonstration that opposed governmental interference in education ended in the massacre of hundreds of peaceful students. Protests still occur today as the students and teachers are constantly attempting to ensure education is free and separate from governmental control.

Architecture

The design of the current incarnation of the UNAM central campus was the idea of two former students. In 1928, Mauricio De Maria y Campos and Marcial Gutiérrez Camarena started to develop the plans for this new campus city. But the sheer size and scale meant that they needed much more assistance. Over 60 different architects were employed to achieve their vision. A beautiful example of Mexican artistic collaboration. The campus was to include the giant Estadio Olímpico Universitario, 40 other school buildings, and a massive library. It also had a cultural centre, several museums and a sculpture garden inside the ecological reserve. 

Construction began in 1950 outside of the Pedregal de San Ángel. The area upon which UNMA university was built is atop an ancient solidified lava bed. The volcanic bedrock was removed when construction began. But never one to simply wash away the natural history of the country, the architects repurposed these uncovered rocks. They used them to make the pathways and embed into the walls of the surrounding structures. The area was also a historic place for an ancient Aztec civilization. University Rector Luis Garrido said, “it was once the seat of an ancient civilization, and now it will be the seat of the culture of the future.” 

Mexican Modernism and Functionalism

During the university’s construction, the architects were highly influenced by the functionalism style. The concept of functionalism was that everything in society should serve a function. In architecture, it’s the principle that buildings should be designed based solely on their purpose and function. This style was popularized by ‘Le Corbusier,’ a home designed by German architect Mies van der Rohe. Mies van der Rohe wanted to radically simplify constructions to highlight their architectural beauty and focus on their function.

The other style highlighted here on campus is Mexican Modernism. Like functionalism, Modernism did away with ornaments and decorations in favour of innovation and new materials. Newly introduced to Mexico, concrete was used throughout the campus, along with lots of glass and steel.

In Modernism, many buildings have a long and low horizontal base juxtaposed at 90 degrees with a vertical tower. This emphasis on horizontal and vertical lines and asymmetry creates a visual effect of expanding the perspective.

Estadio Olímpico Universitario

The best place to start your UNAM campus tour is actually on the other side of the main campus. Outside the grandiose Estadio Olímpico Universitario or the University Olympic Stadium. The stadium was built in 1952, and at the time, it was the largest stadium in Mexico. It was built in anticipation of the 1968 Olympics, the first Olympics in Latin America. During the Olympics, the stadium would host track and field competitions, equestrian events, football matches, and, most importantly, the opening and closing ceremonies. So the architects really wanted to leave a lasting impression on the world.

During the Olympics, it was here that the iconic image of Tommie Smith and John Carlos on the podium was taken. They each raised their black-gloved fists in the air, in solidarity with the Black Panthers. This symbol was an act of protest against the rampant racism in the US. Fittingly this protest was held on UNAM soil, a university so well familiar with protest. Today, the University uses the stadium for their football games with their home team, the Pumas!

Diego Rivera Mural

Outside of the main entrance, on the east side of Avenue de Los Insurgentes Sur, stands the powerful relief made by Diego Rivera. Diego Rivera was perhaps the most significant artist involved in the government-sponsored Mexican Muralism project. He is considered one of the “big three” artists, the others being David Alfaro Siqueiros and José Clemente Orozco. In 1920 the government hired these three artists (and others) to help educate the masses about Mexican history. Their aim was to use art to reunify the country. Back then, much of the population was illiterate and therefore these pictorial images were the perfect solution to reach everyone. As the movement continued, the art shifted from representations of the past to dreams for the future.

For this project, Rivera used only natural stones to create the mural. He sourced them from around the area to make the relief feel like an ancient structure that had been uncovered. Unfortunately, Diego Rivera died before the installation could be finished. He had initially planned to cover the entire building in these stone mosaics. But after his death, the work was never completed.

The University, the Mexican family, peace and youth sports

The mural’s name is quite the mouthful, being called the “The University, the Mexican family, peace and youth sports.” The centre of the relief features a mother and father with their arms outstretched. Their hands reach toward their child, who stands in the centre. The child clasps a large dove in his hands, the symbol of peace. Behind the family, wrapping their wings around them, are a mammoth golden eagle and fierce condor. These birds are the symbols of UNAM University.

On either side of the family, there are two athletes seen in white sports uniforms. They are in the process of lighting the ceremonial Olympic flame. Below all the characters in the scene, we can see the image of the pre-Hispanic god Quetzalcoatl. Quetzalcoatl, the feathered serpent, acts as the ground upon which these athletes stand. The scales of his skin are decorated with images of corn, an essential resource which forms the fabric of Mexico’s agriculture.

Campus Balcony

To head into the main campus area, you can cross over the pedestrian bridge, travelling over the highway. The pedestrian crossing is located slightly north of the entrance to the stadium. After crossing, you’ll see the grassy Edén Garden. This small green space is a frequent hangout for students who want to snag some shade under the trees. Walk slightly south, parallel to Escolar street. Eventually, you will pop out next to the ‘Rectoría’ bus stop.

This large concrete quad sits above the rest of the campus. The raised dais gives you a beautiful view across the campus. The quad was planned out with wide steps leading down to the rest of the campus. This design was inspired by ancient Aztec cities, which resembled large outdoor rooms. The open courtyard and terraces of ancient cities like Teotihuacán, Monte Alban and Chichen Itza were all used as inspiration for this layout.

Concrete was new material in Mexico City during the university’s construction. After the revolutionary wars in Mexico, much rebuilding needed to be done. And concrete allowed many buildings to go up quickly and relatively cheaply. The main focus of this reconstruction was directed toward healthcare, education and public works.

Rectory Tower 

Walk towards the southeast corner of the balcony and down the stairs. In front of your stands the imposing Rectory Tower to your right. The tower is an exemplary model of modernist architecture. The juxtaposition of a wide horizontal lower level with a large vertical tower creates the effect of elongating the buildings. Walk down the stairs to your right to make your way around the building.

As you descend, take a moment to study the beautiful natural colours of the building. The dividing walls which separate the rest of the courtyard from the Rectory Tower are made of black volcanic stones. The walls of the main horizontal building are covered in tiles made from brilliant yellow onyx. Yellow onyx is a semi-transparent stone that allows light to reflect off of it while also illuminating the building with gorgeous, diffused natural light.

As you make your way to the bottom of the stairs, you can see the charming black and white checkered pattern made of different blocks that forms the lower level. Walk up close, and you can see the small voids in the blocks that also provide natural lighting to the building.

The People to the University, the University to the People

On the south side of the building, you’ll find the vibrant, three-dimensional “sculpture-painting” by Mexican Muralist David Alfaro Siquieros. The Rectory Tower actually features three murals by Siqueiros made starting in 1952. Unlike other two-dimensional murals, Siquieros was employing a new technique he was developing of three-dimensional painting. He used the new material of cement to layer upon the painting to bring the mural to life. The cement was then covered with thousands and thousands of brightly coloured glass mosaics.

The mural on the south side is titled, “The people to the University, the University to the people.” It features sculptures of five different university students in warped and elongated positions. In their hands, they are holding various objects representing the knowledge they acquired at school. In the background are images of the modern city into which these students are headed after graduation. A city where they can apply their knowledge and be the change they want to see in the world.

New Symbol of the University

Turning around the corner, on the east side, you can see a large balcony-like projection coming out the side of the building. This mural is called the “New Symbol of the University” and features the images of two large slightly abstracted images of birds. As we saw in the Olympic Stadium, these are the birds of the University and represent the golden eagle and great condor. The golden eagle has long been a symbol for Mexico City. The two birds are situated on either side of a brilliant sun, symbolizing truth and knowledge. See how the wings of the birds wrap around the edges of the walls continuing into the building.

Dates of the History of Mexico

Coming back around to the front of the Rectory Tower, you can study the last of the three Siquieros murals. This one is called the “Dates of the History of Mexico.” Above the entrance to the building is a large painting of a series of hands. One hand bursts forth from the frame, becoming sculptural, holding a pencil almost like a sword. The reverberations though that seem to echo out from the hand almost look like the sound waves made by a firing bullet. In this place, it’s knowledge that is the strongest weapon!

On the left side of the mural are a series of dates. Each one refers to a significant moment in the history of Mexico City. 1520 was when Mexico was first invaded by the Spanish. 1810 was the Mexican War of Independence when Mexico was freed by insurgent forces from the Spanish. 1857 was the Reform War and the formation of the Federal Mexican Constitution. 1910 was the second Mexican Revolution against the government of President Porfirio Díaz. Finally, we see the date 19?? signifying that Siquieros thought that there would still yet become a monumental moment in the 20th century for the country. Many students etched the date of the protests onto the mural but this has been removed year after year.

Central Library

The Central Library was definitely the main reason why I made my way out here. And it is without a doubt the most symbolically important building on campus. The Central UNAM Library contains one of the largest book collections in Mexico, with over 600,000 books tucked away inside. To ensure all these books were safe from the destructive rays of the sun, the library needed to be primary windowless. But a windowless building can look pretty boring. So the architects knew the building needed something eye-catching to decorate the facade. They hired painter and architect Juan O’Gorman to create a fantastical, almost storybook-like mural that wrapped around the entirety of the library.

Juan O’Gorman Vision

Juan O’Gorman was born just a few steps away from the university campus in Coyoacan. This was his home turf and as such he really wanted to create something special. O’Gorman employed the use of the black volcanic stones, hewn from the ground, to become the base of the facade. Unlike the other murals on campus, O’Gorman wanted the colours in his mural to be completely natural. No paints or pigments, all the colours in the mural were made from finding organic materials. Stones from all over the country were sourced to create the coloured tile on the facade.

O’Gorman’s idea was to use the facade of the library to paint a picture of Mexico’s pre-Hispanic culture and identity. As well as the future he saw for his country. The entire mural is assembled like a codex, with hidden symbols to be read around every corner. The North Wall represents the pre-Hispanic past, and the South Wall depicts Colonial Past. Then we move to the East Wall, which represents the Contemporaneous World. And finally, the West Wall depicts the University and Modern Mexico.

“The general theme of the mural is related to the evolution of culture. In the upper part, I represented the cosmological symbols, on the north wall, figures allusive to the pre-Hispanic culture, on the south wall, I developed the argument about colonial culture, on the sides, I referred to the modern age, and on the east side, I represented the atom as a cosmological symbol of our century. I had originally projected the Newtonian concept of universal attraction on the west side. I had to vary it by having to represent there the university shield with the corresponding motto, which, in my opinion, should have gone in the rectory building.”

– O’Gorman

North Wall | The Pre-Hispanic Past

To read the building chronologically, head to the north side. This is where we can look up to view the wall dedicated to the pre-Hispanic past. Flowing throughout the entire mural are bright blue watery canal and earthy “chinampas.” These chinampas, or artificial islands, were a brilliant invention by the Aztec civilization. These floating gardens provided the nation with rich agriculture and even a modern drainage system. Water was life to the early Mexican people, and as such, the water in this mural acts almost as veins. Connecting each section to one and other.

The Duality of Life and Death

The overall theme in this mural relates to the story of life and death. In the Aztec civilization, life was represented by the sun and death by the moon. These two dualities needed to exist in tandem to create that important harmony which balances life on earth. One needs the other to exist. Without death, there is no life and vice versa. So unlike today, where death is something to fear, something we shy away even from talking about. The Aztecs revered death and honoured it for its place in the cycle of life

Quetzalcóatl

Let’s start the reading of the mural on the left side. Here we see a small scene dedicated to life-giving Aztec gods. In the upper corner, we can see the sun’s image, set within a geometric set of Aztec designs. Driectly below the sun we can see the tail of a large snake. As we follow its slithering body we find its head facing the centre of the frame. This snake represents the Aztec god Quetzalcóatl. Quetzalcóatl, or ‘the Plumed Serpent‘, was one of the most important gods in ancient Mesoamerica. He was thought to be a mix of a bird and rattlesnake. If you look closely, you’ll see multicoloured feathers combined with his emerald scales.

Quetzalcóatl was the god of the wind and the rain. And it was Quetzalcóatl who was said to have created the earth and the people who live upon it. The brightly coloured feathered headdress worn by the priests of ancient Mesoamerica were meant to mimic the image of Quetzalcóatl. Many of the people in the mural can be seen wearing these elaborate headdresses. From below the centre of the snake, an amputated hand emerges from the stone. From their fingertips, droplets of water pour down on the large tree below. Perhaps the human form of Quetzalcóatl watering the resources on earth.

Huitzilopochtli 

To the right of Quetzalcóatl’s hand, we find the image of the god Huitzilopochtli. Huitzilopochtli is the Aztec God of the Sun and War. He is wearing a feathered hummingbird headdress, holding a large shield with the star. In his other hand, he holds a curved turquoise staff and is surrounded by a series of fearsome snakes. In the Aztec culture, warriors were reincarnated as hummingbirds after their death in honour of this fearsome god.

The Myth of the Sun and Moon

Huitzilopochtli was conceived when his mother, Coatlicue, saw a ball of hummingbird feathers falling from the sky. Similar to the immaculate conception of the Virgin Mary, upon collecting the feathers, Coatlicue became with child. But just before he was born, Coatlicue’s sons and daughter devised a plan to kill both the unborn child and their mother. They were blind with jealousy at the extraordinary way he was conceived.

But just before they could enact their plan, Huitzilopochtli burst forth from his mother’s womb. Born armed with the turquoise snake staff and full armour, he fought off his siblings to protect his mother. He threw his sister off the mountain, and she became the moon. Huitzilopochtli then chased his brothers, who ran away into the sky, becoming the stars. Huitzilopochtli, who was born in anger and fury, became the sun. And it is said that the reason we have day and night becomes Huitzilopochtli continues to chase his brothers the stars around the world every day.

Tlaloc

Below the disembodied hand, beside the tree being watered, we can see the Tlaloc, the Aztec god of rain. Tlaloc also goes by the name ‘He Who Makes Things Sprout‘ so it is apt to see him in the process of raising a tree from the earth. He is very recognizable by the large mask he wears with these two huge eyes and a large set of white fangs. As the god of the rain, Tlaloc was the ‘giver of life’ responsible for earthly fertility. While Tlaloc was seen as, on the one hand, the giver of life, he was also greatly feared. Again, going back to the harmony that must exist in all things. Tlaloc was also responsible for hurricanes, lightning and floods. He could grow and destroy crops all in one breath.

Tlazōlteōtl

In the center of the left section, we can see the image of a woman covered in flowing strips of fabric. This is Tlazōlteōtl, my persona favourite of all the Aztec gods. Her name “Tlazōlteōtl” is the Nahuatl word for garbage. And often she is called the “Eater of Filth.” And while that seems rather derogatory, she is one of the most precious of all the gods. Tlazōlteōtl has many names, sometimes called the Eater of Excrement. This “excrement” that she eats is representative of the sins of the world. Giving those who pray for her absolution and perhaps a new lease on life. She is often identifiable by the rim of black around her lips from the eating of dirt.

Tlazōlteōtl is almost always portrayed in a splayed leg position, as if in the process of giving birth. Another one of her names is Goddess of the Moon as the moon is a symbol of fertility. Tlazōlteōtl is often portrayed alongside the jaguar who is associated with water, plants and fertility.

Another one of her names is Goddess of Cotton. In the Aztec culture, weaving and fertility go hand in hand. Women were both the ones to give birth and the weavers of the household. Textiles brought lots of money into the household. And a highly skilled weaver was considered a highly prestigious position. That is also why Tlazōlteōtl is often seen adorned in fabric.

Teccistecatl

To the left of Tlazōlteōtl, we can see the top of a great pyramid decorated in images of shells. Atop the pyramid’s terrace sits the god Teccistecatl on his throne. Teccistecatl is the male version of Tlazōlteōtl. He is the male god of the moon and fertility. His name means, “Place of the Conch,” and he can be seen blowing into a large conch. Teccistacatl is often seen wearing a white seashell on his back, a symbol of the moon.

The upper portion of the mural has all related to the world of the gods, but the pyramid guides us into the earthly plane. The various Aztec warriors can be seen wearing animal pelts on their backs. They were given his costumes featuring eagles, jaguars and snakes as a means to imbue themselves with the powers of those animals. A priest wearing a feathered headdress stands surrounded by the warriors in the midst of a ritual. O’GormanO’Gorman believed that the Mexican empire was built on the backs of their fierce warriors and the rituals of war.

Tonatiuh

The central axis of the mural is dominated by the god Tonatiuh. Tonatiuh is the god of the daytime sky and controls the sun’s movements. Tonatiuh takes the form of the sun. He looks out almost menacingly at the people below with his red tongue emerging from his mouth. Tonatiuh is one of the oldest Aztec gods. They believed that his movements caused the sun to rise and set in the evening. But this life cycle was only guaranteed by the human sacrifices on earth.

Tōnalpōhualli

Below Tonatiuh we can see a pink mouth with teeth bared, surrounded by an ellipse. The ellipse is divided down the centre, with one half being black and the other white. In the centre of the ellipsis, you’ll see twenty different symbols representing the different 20 13-day periods of the Aztec solar calendar. This calendar was called the Tōnalpōhualli, which in Nahuatl means “count of days,” invented around the 1st millennium BCE. Each symbol is a powerful element in Aztec life. They were everything from deer, water, skulls, earthquakes, flint and wind. Each day is governed by a different deity.

The Eagle of Mexico

Below the Tōnalpōhualli, we can see the great symbol of Mexico City. Or as it was known then as the Aztec capital, Tenochtitlan. The national emblem is the image of an eagle holding a snake in its beak atop a cactus. The Aztecs were told to search the entire country until they saw this image. When they spotted it, it was there where they were to build their capital city.

The Moon Rabbit

In the top right of the frame, we can see the image of the full moon, in contrast to the sun we saw on the left. Inside the moon look carefully to see the small red rabbit. The rabbit is closely associated with the moon in Aztec history. The legend goes that when Quetzalcoatl came to earth as a human, he started on a long journey through the woods.

Quetzalcoatl quickly became exhausted in his new human form. Quetzalcoatl thought he would die alone in the woods without food or water. But then he saw a rabbit grazing nearby who offered to share his food with Quetzalcoatl. After regaining his strength, Quetzalcoatl took the rabbit and lifted it to the sky. He pressed it against the moon. When he brought it back down to earth, he said, “You may be just a rabbit, but everyone will remember you; there is your image in light, for all people and times.” Perhaps because of the connection between the rabbit and Quetzalcoatl, we once more see the feathered serpent emerging from this side of the frame.

Tezcatlipoca

To the left, you can see the god Tezcatlipoca. Tezcatlipoca is the god of the night sky and Huitzilopochtli’s oppositional rival. The god of the sun and moon is seen positioned directly across from each other one the mural. You’ll notice more of these contrasting characters as we go. As Tezcatlipoca is the night god, he is seen with his familiar, the night jaguar. He is often accompanied by the image of a skull that can be seen to the right. Tezcatlipoca can be identified by the large obsidian shield he carries. Another identifying feature is the black (sometimes yellow) stripes painted across his face. 

Tezcatlipoca often goes by the name “Smoking Mirror” as he is also the god of obsidian, divination, and sorcery. Obsidian was frequently used in important shamanic rituals. Look closely at the left foot he has pointed outwards. This foot is made of a large bone after Tezcatlipoca’s battle with a mythological Earth Monster.

Chalchiuhtlicue

Moving slightly to the right, we can see the goddess Chalchiuhtlicue. Chalchiuhtlicue is the goddess of water, the partner (or sometimes sister) of Tlaloc. She is easily identifiable by the flowing jade skirt she wears. The skirt is meant to resemble the flow of a stream of water erupting behind her.

Directly in front of her, you can make out the image of a great bonfire, with a green shape within. Look closely and you’ll see human-like eyes staring out from the fire. Chalchiuhtlicue is throwing her son into the fire. Sacrificing him to give life to the moon. The Aztec festival of Chalchiuhtlicue involved human sacrifice and often involved women and even children.

Mictlantecuhtli

In the right middle section, we see the image of two gods back to back, standing above what appears to be a minature pyramid. Perhaps the pyramid is actually meant to be human-sized and the gods are depicted in their true form, showing the viewer their sheer enormity. The two gods are Mictlantecuhtli (on the left) and Quetzalcóatl (on the right). Mictlantecuhtli is the god of death and the lord of the Underworld. As seen by the staff he carries with a huge skull embedded in the centre. Quetzalcoatl on the other hand is the god of life, knowledge and light. Together they symbolize the theme of life and death.

The legend of Quetzalcoatl & Mictlantecuhtli

One of the legends surrounding these gods related to the creation of life on earth. One day, Quetzalcoatl went down into the underworld in an attempt to steal the bones of the previous generation of gods. But Mictlantecuhtli didn’t want to give them up. So Quetzalcoatl had to sneak in, but he was caught and dropped the bones in his attempt to quickly escape. The bones were broken during the fall, but Quetzalcoatl quickly grabbed as many as possible and returned to the surface. Upon returning to the surface, the bones were transformed into the different races of mortals on earth. Each one has a different shape and size due to the bones being broken into different pieces after the fall.

The Sacrifice

The lower section of the right murals is dedicated to the warrior’s sacrifice. Every Aztec warrior was required to provide at least one prisoner of war to be sacrificed. Only a warrior who had captured an enemy and offered him up to the gods was able to call himself a true warrior. The warriors can be seen wearing feathered headdresses to look like the gods they so revered.  

South Wall | The Colonial Past

Moving now to the south wall, this is the wall you see most prominently when you walk into the courtyard. This wall moves away from Aztec mythology and into the colonial past. And yet even as the city is being torn apart by the colonizers, the veins of Aztec beliefs still run throughout. The south wall studies the dichotomy between good and evil, represented here on the left and the right by religion and violent war. But in reality, these wars were truly a war on religion itself and tearing away the deeply rooted beliefs of the Aztec culture. And imposing on the indigenous people the new world of Christianity.

Spiritual Conquest

The mural’s left side is themed around the history of the religious conquest that occurred when the Spanish invaded Tenotichilan. On the top left, we can see a large image of the sun. Its rays cast light upon the figure of a man to the right. The man wears on his chest a large golden cross. On either side of his shoulders are two disembodied hands that appear out of a triangle with the all-seeing eye within it. On either of the hand’s palms, we can see two red dots representing the crucifixion wounds of Jesus Christ. In the background of the mural, surrounding the large blue circle in the centre, are various images of angels and religious iconography. This includes repetitive images of the golden cross and sceptre.

The Eye of Providence

The eye enclosed in a triangle surrounded by rays of light is called the ‘Eye of Providence‘ or the all-seeing eye of God. It is the divine image of God who watches over humanity. This eye is seen all over this side of the mural. This image is most often connected to the Freemasons, a religious order that dates back to the 13th century. The activity of the freemasons in Mexico has very deep and secretive mythology. But it is believed that many of the leaders of Mexico belonged to Freemasonry. Perhaps O’Gorman knew something the general public didn’t and this was his way of getting those secrets into the public eye.

Claudius Ptolemy

Without a doubt, the most impactful part of this mural are the two huge blue circles on either side. They look out at the mural like a pair of giant eyes. Following you wherever you go. These represent two opposing views on astronomy. On the left, a small banner hangs below the circle with the name “Ptolomeo” written upon it. Ptolomeo or Claudius Ptolemy was a famed astronomer and astrologer who came to prominence in the Roman Empire. He wrote several important treatises. The most influential of which was his geocentric system. This paper stated the sun revolved around the earth.

The blue circle on the left is meant to reflect those ideologies. In the centre of the circle, we can see a small image of the earth and, around the circumference, the image of the sun revolving around it.

Constellations

In the middle of the blue circle, you can make out several small white stars in amongst a sea of larger symbolic images. Each one represents a different constellation. These are a select few of the 48 Greek constellations listed by Claudius Ptolemy in his 2nd-century astronomical treatise. Most of them are associated with stories from Greek mythology.

At the top, we can see Hydra, the multi-headed water snake slain by Hercules. Moving clockwise, we then see Pegasus, the winged horse who carries thunder and lightning to Zeus. The crown represents Corona Borealis, the crown worn by Princess Ariadne on her wedding day. Below the crown is Orion. Orion is the hunter and son of Poseidon, who is joined by his two dogs. Next is Perseus, who famously slew Medusa the Gorgon and holds her head in his hand. The eagle we see is Aquila, the bird of Zeus and the retriever of his thunderbolts. At the bottom of the circle is Andromeda. Andromeda is the daughter of Cassiopeia and was chained to a rock. We can see her in the mural still enchained to the stars. Ready to be eaten by the sea monster Cetus. 

Beside Andromeda is Ursa Major, the great bear. But once, this creature was a beautiful woman named Callisto, the lover of Zeus. When Zeus’ wife Hera found out Callisto was pregnant, she was furious and transformed her into a bear. To the bear’s left is Capricornus, who has horns like a goat. They are surrounded by several other water-related constellations such as Aquarius, Pisces and Eridanus. The final constellation is Delphine, the dolphin messenger of Poseidon.

Falling Eagle Cuauhtémoc

Directly below the constellations and the banner is the image of an upside-down eagle. The falling eagle is the symbol of great Aztec leader Cuauhtémoc. The name Cuauhtemōc means “one who has descended like an eagle.” This is the fiercest pose for an eagle; when an eagle folds its wings and plummets down, it is about to strike its prey. And yet, despite his aggressive name, Cuauhtémoc took power after the death of emperor Moctezuma II in 1520. His ascension to the throne was during the start of the Spanish invasion and the epidemic of smallpox that killed so many of his people. 

The Burning of Cuauhtémoc

Although he tried to fight off the Spanish, Cuauhtémoc was captured and surrendered to Hernán Cortés, leading to the death of his beloved empire. Cortés kept Cuauhtémoc alive in the hopes he would show Cortés where the riches of the empire could be found. Although they had found some gold, it was nothing like what Cortes had expected. He subjected poor Cuauhtémoc to torture over red-hot coals, but Cuauhtémoc never gave anything up. This scene is somewhat depicted here on the mural. His ‘chimalli‘ shield and a feathered headdress are all that are left on the burning stake. Cortés had Cuauhtémoc executed but, to this day, he is considered a martyr by the Mexican nation.

Diego de Landa Calderón

Also being burnt on the pire are the precious Mayan codices. Diego de Landa was the Spanish bishop sent by the Roman Catholic Archdiocese to Mexico. It was because of him that all the printed histories of the Aztec empire were lost. This devastated historians as their chance at deciphering Maya script or learning more about their civilization were lost to these fires. We can see Calderón standing to the right, overseeing the fires, dressed in Catholic finery. But interestingly enough, the staff he carries resembles the pope’s pastoral staff but features a large skull. Perhaps a commentary on the death of the Aztec empire at the hands of Calderón and the Catholic church.

Habsburgs Crest

The mural’s centre is dominated by the enormous coat of arms featuring two huge eagles. This is the coat of arms of the Habsburgs. This dynasty ruled over Spain for centuries. The Hapsburg emperors contributed much to the formation of the country of Mexico we know today. The Hapsburg coat of arms is formed from the double-headed eagle. The eagle has always been a sign of emperors, but the double-headed eagle could only be used as an imperial title. This could be used for a king who wasn’t voted in by the electors but blessed and crowned by the pope in Rome.

Plus Ultra

A large banner spins itself around the coat of arms with the dates 1521 and 1820. These dates represent the start of the Spanish conquest to Mexican Independence in 1820. Another banner swirls itself around the side with the words Plus ultra. Plus ultra is a Latin phrase and the national motto of Spain. The motto can be translated to “further beyond,” which refers to the idea of taking risks and striving for excellence to move a nation forward.

The Churches

Below the great coat of arms, we see a trifecta of three different buildings atop one another. As we move down the mural, the building transforms into different architectural styles indicating the change in eras. At the very top, we have a series of Roman columns. Below this, we can see the great Aztec pyramids and finally end in the huge baroque Catholic church. Hidden inside many different architectural aspects of the buildings are more masonic eyes. It is also within this part of the mural where the real “eyes” of the building (aka the windows) are placed.

The Devil

On the right side of the mural, we have the image of the moon located in the top right corner. Juxtaposing the images of the sun on the left side. To the left of the moon, we can see the fearsome image of the devil, mirroring the same placement of god. The devil is surrounded by a series of vicious animals and monstrous creatures. Whereas on the left side of the mural, the disembodied hands hold crosses, these hands hold swords and spears. This immediately indicates to us the fact that this portion of the mural is all about war.

Copernicus

Mirroring the image of the large blue circle from the left, we can see another similar image on this side of the mural. On the right we can see another small banner with “Copernicus” written on it. Nicolaus Copernicus was a Renaissance astronomer who discovered and wrote the heliocentric theory. This theory stated that the sun was at the centre of the universe. And that the earth revolved around the sun and not the other way around. This started a charge in the course of scientific history called the “Copernican Revolution.” This discovery was at odds with the Catholic church. So much so that they had Coperniscus’ books banned for over 200 years.

The Zodiac

In the centre of this blue circle, we can see the sun and the image of the earth revolving around the circumference. Surrounding the sun is another set of images; this time, instead of Greek constellations, we find images of the twelve different zodiac signs.

Map of Tenochtitlan

Below the large circle, we see a mosaic image of the map of ancient Tenochtitlan. The beautiful waterways that surround the city vibrantly contrast the terracotta reds of the city. It might seem odd to see a map on the side of the mural dedicated to “war,” but this map show the rich land upon which the city stands. The nation’s wealth was the reason it was so valued and seen as something the Spanish needed to conquer and claim. 

Cortes’ War

To the left of the map, we start to see the graphic depictions of war. Armed men on horseback arrive and can be seen charging in. Horses had been extinct in Mexico for thousands of years, which gave the invading Spanish army an advantage. A huge cannon explodes, its fiery expulsion directed towards the city. The combinations of armour, cavalry and this advanced weaponry meant that the Aztecs stood no chance of being able to defend themselves.

On the bottom right of the mural, we can see Hernan Cortes himself. He is identifiable because he is on horseback, in heavy armour, and wearing a large helmet with colourful plumes. He rides just behind a series of men carrying the Spanish flag as it appeared in 1521. This flag contained two lions and two castles in opposite corners. The two castles represent Castile and León, and the two lions are their rulers.

Laws of the Indies

To the right of Cortes’ entry, we can see a man carrying a scroll sitting in a golden-looking chair. Kneeling in front of him is the defeated Aztec army. The scroll carries the words “Ley de Indies,” which was the Laws of the Indies. The Spanish crown issued this body of laws that were used to regulate the social, political, religious, and economic life in all regions conquered by the Spanish. It was these laws that would start the governmental control over Mexico. These laws were just the start of the colonial system that propelled Mexicans to fight for their independence.

Tlaloc Fountain

In front of the south side mural, to the right of the entrance to the library, is a large stone fountain with the image of Tlaloc. The Aztec rain god is fittingly being used here to bring water to the steps of the library.

East Wall Mural | The Contemporary World

Along the east wall, which looks out over the large open-air grassy courtyard, we can clearly see the theme of the atomic age. The symbol of the atom in the centre of the mural represents the explosion of knowledge in the 20th century. Above the atom, we can see the great Eagle of Mexico rising up above. A symbol of the country’s spirit leading them into this new era of ascension.

The Sun and the Moon

And yet, despite the modernity that is featured on this side of the mural, on the top right and left, we still see the images of the sun and the moon. Both of which continues to be a through-line that connects all side of the library murals. The sun and the moon represent duality which we also see represented in the scenes of the city and country below. 

The City’s Industry and the Rural Countryside

The left side of the frame represents the industrial progress of the nation, while the right side depicts the natural world. That natural world, Mexico’s rich agricultural landscape, remains unchanged, no matter the scientific progress around it. On the left we need a modern factory while the right we can see traditional Mexican architecture.

Below the image of the atom, in the centre of the mural, we can see a man dressed in Aztec garb. In one hand, he grasps a snake, while in the other, he holds a worker’s hammer. Above his head, on either side, respectively, are images of science and industry and the natural Mexican landscape.

Viva la Revolution

On the lower left of the mural, we see two men holding a banner proclaiming “Viva la Revolution!” They are the people who represent the people of the Mexican Revolution. Above them, the three men hold what appears to be a globe in their hands as if the introduction of the factories would lead to the creation of this new world. 

Tierra y Libertad

On the lower right we see another group holding a banner stating, “Tierra y Libertad,” which translates into Land and Freedom. Unlike the factories, the people on the right represented farmers who work the land in the same way that has been down for many centuries, back to Aztec times. But just like the factory workers on the left, the also desire revolution and freedom for their country.

West Mural | UNAM and Mexico Today

The last of the murals we will look at is on the west side of the building. This side of the library faces the highway and acts almost like a billboard for cars passing by. The theme of this mural is all about the University itself. After all the previous murals, which reference the history of Mexico, we finally land on the present and the future of the country.

UNAM Crest

In the centre of the mural is the great crest of UNAM university. When O’Gorman created the mural, the crest had just been finalized, so this was a great way to announce it to the public. The crest of the University was designed by famed writer, philosopher, and politician José Vasconcelos. He held the position of university rector in 1920 when the seal was being redesigned. So Vasconcelos took it upon himself to bring his vision to life.

At the very top, we can see a banner flying in the wind with the words the National Autonomous University of Mexico in large letters. Below this is what appear to be two great golden eagles. But they actually are one Mexican eagle and one Andean condor. Each one facing out towards the university campus, as if on guard. 

The two birds hold a great shield with a map in the centre front. This depicts a map of Latin America with a star where Mexico can be found. Around the shield is the phrase, “For my people, the spirit shall speak.” The motto speaks to the conviction of the Mexican people. Their ability to rise up against all odds, to protest,to fight, all the while their spirts enriched by their cultural history.

Below the shield, you can see the image of a volcano and a series of mountains, representing Mexico’s roots. Surrounding the great shield, O’Gorman wove a series of pre-Hispanic symbols and images to ensure that we always carry the past with us even as we move into the future.

Students of the Future

On the lower part of the mural, we see the images of the past and the present. On the left, we see the image of an old Aztec temple, contrasted on the right by the images of the modern architecture of the University. Below these structures are the people of Mexico City. On the left, we can see the indigenous Mexican wearing traditional dress, contrasted on the right by a series of students wearing the fashions of the 1950s. They are carrying objects relating to the various studies at the University like science, engineering, and sports.

Las Islas

From the library, take a stroll through the large grassy knoll called “Las Islas,” or the Islands. This large expanse of grass is almost always covered by students relaxing or studying in the sunshine. You can find street food vendors selling simple snacks or sweet drinks to keep you cool on hot days. It’s honestly a great spot to sit down and enjoy a little bag of duros or chicharrones.

You might spot a series of large concrete globes with grilles that look almost like medieval knights’ helmets. These were old lights used to illuminate the courtyard at night, but alas, they have seen better days and no longer work. But one can imagine how these little globes of light would have looked like spectacles around the grass as the sunsets.

The Faculty of Architecture Building

On the opposite side of the Islands, we can see the modernist gem which holds the Faculty of Architecture. I love studying at this building from afar before getting up close. From far away, you can really appreciate how the building is meant to resemble a snake as it moves along the earth. Like a wave represented in the various undulating arches. The building was designed by architect Jose Villagran. As it was to host the faculty of architecture, they really wanted this building to embody the ideals of the architectural school. And provide a modern building for the students who studied there to aspire towards creating.

One of the most modern techniques utilized in the construction was the addition of “brise soleil” or sun breakers. These are the red slats that run along with the second storey of the building. Brise soleil was a new architectural feature that allowed buildings to control and reduce the sunlight that beats down on the building by deflecting the light. This meant that you wouldn’t need to waste excess energy on powerful air conditioning even in the peak of the summer.

The Conquest of Energy Mural

Head around to the north walls from the front of the building, where you can find an incredible mural by Chávez Morado. José Chávez Morado was a Mexican muralist who worked in the same circles as the other artists we have seen this far. Chávez Morado created three different murals for the campus. But unfortunately, the third mural, created in vinyl, did not stand the test of time.

Thankfully the other two murals were made of Venetian glass mosaics. Chávez Morado travelled to Italy to study the production of mosaics and how their old masters managed to capture such brilliant colours in the glasswork. When he returned to Mexico, this masterful technique was highly regarded by his peers, who marvelled at the vibrant colours he managed to produce. Unlike anything anyone had seen before and a highlight for the campus. 

The name of this mural is the ‘Conquest of Energy.’ Reading the mural from left to right, we can see the primitive Mexican people cowering beneath a sickly tree. They are cowering in fear of the large jaguar which leaps above them, perhaps stalking them for food. With nothing but the barren tree to protect them they surely await death…

The Myth of Prometheus

But then we see one man come forward, holding a lit torch, which he uses to ignite the fire. The man is perhaps an allegory for Prometheus, who stole fire from the gods to give to people on earth to lead them into the future. This man is seen dressed in animal skin, perhaps that of a jaguar, showing man’s dominance over the animal kingdom with the introduction of fire.

Fire would both keep these people safe and move them forward into a new era. As fire as the through-line that connects each of the parts of the mural, the colouring of the entire piece is so fiery! In the middle section, a series of men then carry the flame in their hands. They walk towards the right of the frame, with each step the men start walking more and more upright in their stance.

Atomic Ressurection

Toward the right, two men hold their palms out towards each other, almost touching a floating atom which stands between them. Representing the fusion of the atom. But below the image of the atom, we can see a man collapsed in the arms of a beautiful woman dressed in a red robe. The man’s ribs are sticking out, and he looks sickly. And yet, in his eyes, there is a spark as he gazes up towards the atom. As if the atom is about to resurrect him.

Just to the women’s right, we can see the sick man transformed. His energy and strength have returned as he stands with his arms spread wide in triumph. A ghostly blue figure, the same colour as the energy around the atom, stands beside him. Perhaps the spirit of the atomic energy that brought him back to life.

The final piece to study is the small tree at the bottom right. It resembles the lifeless tree we saw in the first part of the mural, but this tree is covered in bright green leaves and is blossoming with fruit. Fruit is the symbol of knowledge. Knowledge that has been growing with the discovery of atomic energy.

The Return of Quetzalcóatl

Another mural by Chávez Morado can be found inside the courtyard of the school of architecture. Depending on the day, entry into the building might be restricted but usually, if it’s open, if anyone asks, just mention you are on your way to see the mural. The courtyard is home to a few picnic tables for students to eat at, highlighted by this incredible mural. Perhaps because of its slightly more obscure location, this mural is almost perfectly preserved.

Quetzalcóatl

It features a scene all about Quetzalcóatl. Quetzalcóatl, the feathered serpent, was the god of winds and rain. But he is also best known as the creator of the world and humanity. In this scene, Quetzalcóatl has transformed himself into a giant raft. He carries on his back seven representatives from various cultures around the world. 

Cultural Representatives

From left to right we can study each one of the different cultures. We first see the image of an Egyptian pharaoh. Beside him sits the hooded figure of a Franciscan friar, a symbol of Christianity. The blue-winged figure that sits behind them is perhaps an angelic creature riding beside the friar.

The central figure has the body of a naked man but wears a large colourful mask. The mask is meant to resemble the head of Ehecatl, who was the pre-Columbian god of the wind. He works alongside Quetzalcóatl to propel their boat onwards. The man to the right of Ehecatl carries two golden chalices. He represents Mesopotamia. Next, we can see the toga-clad Greek representative and beside him sits the image of the bodhisattva in prayer as a representative of Eastern cultures. The final image is of a Muslim man wearing his turban and brown robes.

To the left of the boat, you can see the image of an Aztec pyramid in the distance being attacked by a series of swords and spears. Perhaps the omen of the Spanish Conquest that would follow. Behind the entire scene, there seems to be a fire burning. Fire is often a symbol which refers to eternity, as in the “eternal flame.” This means that even when invaders try to come in and rid your nation of all that is sacred, your culture will remain eternal. In the hearts and minds of the people.

Chemistry Building Mural

Continuing east, head into the large open courtyard facing the Chemistry Building. You’ll recognize it right away as the Chemistry Building by the giant Periodic Table seen on the windows. The ingenious designers used the square shapes of the windows to create a mural plastered onto the inside to create a larger-than-life Periodic Table.

Cosmic Ray Pavilion 

Crossing northeast across the basketball and sports courts head towards the front of the Faculty of Medicine. On the way towards this building, make a quick stop beside the Cosmic Ray Pavilion. The relatively small pavilion is made of concrete and once contained two labs used to study cosmic rays and nuclear disintegration. Although it is small, it displays some exciting advances in concrete architecture. Because of the slightly dangerous nature of these experiments, they were required to be located outside the main buildings. Today it remains a memory of this period of discovery at the university.

Faculty of Medicine Mural 

Beyond the Cosmic Pavillion is the brilliant mural outside the Faculty of Medicine. The mural is called “La vida, la muerte, el mestizaje y los cuatro elementos,’ by Francisco Eppens Helguera. This translates to “Life, death, mestizaje, and the four elements.” The word “mestizaje” means “of mixed race,” and refers to mixtures of race and culture. Much of the population of Mexico City is made up of mixed races. When the Spanish first invaded, many Spaniards had “relations” with the indigenous people. Involving consensual and non-consensual relationships. This produced a new race of half Spanish, half indigenous people.

Despite having some Spanish blood, mestizajes were considered lesser in their social status than purebred Spaniards. But they were also not entirely accepted by the purely indigenous community. This social cast system and complex cultural history are still something that Mexico struggles with even today. The three faces on one head in the centre of the mural represent the idea of multiple races and cultures living inside one body.

Surrounding the rest of the mural we can see many of the Aztec gods we studied in the Central Library mural. But mirrored here in a series of surreal scenes. We can see the feathered serpent encircling the background. We can see Quetzalcoatl’s fangs and round eyes looking out at us at the bottom right of the mural. The four elements, wind, air, fire and earth are all woven into the design seamlessly along with a series of pre-hispanic symbols.

Overcoming of Man through Culture

Heading off towards the left, you can see the image of “La superación del hombre por medio de la cultural,” which means the overcoming of man through culture. The mural stands on the outside of the Faculty of Dentistry. It was painted by Francisco Eppens Helguera, who became most notable for his 1968 redesign of the Mexican coat of arms. Made up of glass mosaics it shimmers in the sunlight. The mural features a man emerging from the roots of a tree. But in the place where they should be ahead, the neck fades away into a bright blue flame. This image of a man embued with fire once more highlights the idea of the Promethean man bearing fire.

Almost like a shadow, behind the man in the front of the frame, we can see another headless body, this one dressed in the robes of a Franciscan priest. Behind him, the great wings of an eagle emerge out of the mountains. To the left of the figures, we can see a giant snake, the symbol of knowledge, crawling underneath the scene. The entire piece gives the viewer the message of man’s struggles to rise up, and only through culture is he given the strength to overcome.

Visiting the South Campus

This is the last mural we will study in our guide but if you’d like to keep exploring there are lots more areas of the campus to discover. You can consider hopping in an uber or jumping on one of the free campus buses to visit the southern part of the campus. On the south campus, you can visit the Outdoor Sculpture Gallery, the Botanical Gardens, the University Museum Contemporary Art, or Universum (The Museum of Science and Technology.) Or simply wander around the campus building to see more of what this incredible place has to offer.

Let me know if you enjoyed this tour of the wonderful architectural features of the UNAM campus! Tell me in the comments if you’ve visited this campus before or what your favourite university campus has been to explore anywhere in the world!

Happy Travels, Adventurers

The post The Ultimate Guide to the Architectural Wonders of UNAM Campus in Mexico City first appeared on The Creative Adventurer.

]]> https://thecreativeadventurer.com/the-ultimate-guide-to-the-architectural-wonders-of-unam-campus-in-mexico-city/feed/ 1 31719 The Ultimate Insider’s Guide to a Diego Rivera’s Life & Art in Mexico City https://thecreativeadventurer.com/the-ultimate-insiders-guide-to-a-diego-riveras-life-art-in-mexico-city/?utm_source=rss&utm_medium=rss&utm_campaign=the-ultimate-insiders-guide-to-a-diego-riveras-life-art-in-mexico-city https://thecreativeadventurer.com/the-ultimate-insiders-guide-to-a-diego-riveras-life-art-in-mexico-city/#respond Tue, 23 Nov 2021 18:45:16 +0000 https://thecreativeadventurer.com/?p=25008 When visiting Mexico City, the names Diego Rivera and Frida Kahlo seem to appear everywhere you go. The married couple is...

The post The Ultimate Insider’s Guide to a Diego Rivera’s Life & Art in Mexico City first appeared on The Creative Adventurer.

]]> When visiting Mexico City, the names Diego Rivera and Frida Kahlo seem to appear everywhere you go. The married couple is a historic powerhouse in the world of Mexican artistry. Oddly enough, during their lifetime, Diego Rivera was the most well-known and Frida only lived in his shadow. And yet these days, Frida has internationally far eclipsed her ex-husband’s work. But the powerful legacy of Diego Rivera lives on here in Mexico City. Unlike Frida, whose artworks are spread worldwide, Diego Rivera’s work is attached to the city. Like the beating heart which pulses underfoot.

Diego Rivera was a Mexican painter, muralist, and pioneer in the art of social realism. He is best known for his monumental frescoes depicting Mexican history from the conquest to the revolution. His work has been exhibited worldwide, housed in the most prestigious museums. But the best examples of Diego Rivera’s work can be found here in Mexico City. In public spaces as well as time-honoured museums. This guided tour takes you across the city, diving into unknown corners and popular tourist sites. So come with me on a walking tour in the footsteps of Diego Rivera.

Table Of Contents
  1. About Diego Rivera
  2. Start of the Tour: El Cardenal
  3. Museo Mural Diego Rivera
  4. Dream of a Sunday Afternoon in the Alameda Central
  5. Palacio de Bellas Artes
  6. Mexican Secretaria of Public Education Headquarters
  7. Former College of San Ildefonso
  8. Mercado Presidente Abelardo L. Rodriguez
  9. Antigua Academia de San Carlos
  10. Palacio Nacional
  11. Cárcamo de Dolores
  12. Panteón de Dolores
  13. Coyoacan and San Angel
  14. Museo Casa Estudio Diego Rivera y Frida Kahlo
  15. Plaza San Jacinto
  16. Casa de Cultura Jesús Reyes Heroles
  17. Casa Azul
  18. Frida Kahlo Park
  19. Museo Anahuacalli
  20. Museo Dolores Olmedo

About Diego Rivera

Diego Rivera was born, along with his twin, in Guanajuato, Mexico, in 1886. Sadly, his twin brother died only two years after they were born. Even at such a young age, his twin’s loss significantly impacted Rivera. Perhaps this event created the storm of passion, artistry and creativity Rivera was known for. In fact, it was after his brother died that Diego began to paint. Perhaps as a means to deal with his grief.

Early Education & Artistic Career

Diego began art studies at the Academy of San Carlos in Mexico City at ten years old. The school was located in the heart of the city’s historic centre. The spark of creativity was ignited when he left his small town and studied in the big city. Diego was so talented that the school sent him to study in Europe. All of the greats were sent to Europe as it was seen as the centre of artistic creations.

Diego first studied in Spain, and after success there; he went to study in the pinnacle of art cities; Paris. Rivera loved Pars and lived there for years. He was inspired by the work of artists such as Pablo Picasso and Georges Braque. He immersed himself in the immerging style of Cubism and Paul Cézanne’s post-impressionism. From all these inspiring artists, Diego began to incorporate bolder colours, simpler forms and even abstract elements into his painting. This new style of painting demanded the viewer’s attention. Some paintings scream; they do not whisper. And Diego wanted his art to cry out.

Diego’s Love Life

It was in Paris where Diego met his first wife, Angelina Beloff. A fellow artist from Russia. Despite his atypically handsome appearance, Diego was a lothario. Always with a woman wed and a different one in his bed. During his marriage to Beloff, he was also in a relationship with Maria Vorobieff-Stebelska. Maria would give birth to Marika, Rivera’s first daughter.

Rivera divorced Beloff when he moved back to Mexico City in 1922. Soon after arriving back in Mexico, he met and married Guadalupe Marín. The new couple had two daughters together, named Ruth and Guadalupe.

Diego and Frida

But their relationship also didn’t last, as he was already having another affair with young Frida Kahlo. He divorced Guadalupe Marin in 1929 and married Frida a few months later. He was 44 years old, while she was just 22. Frida and Diego were like fire on fire. Both with huge personalities and huge tempers. But their tumultuous relationship fueled their art. They were both unfaithful during different parts of their marriage. But even these extramarital companions couldn’t soothe the wounds they caused each other. They eventually divorced in 1939. Only after Frida’s death in 1955 did Rivera marry again. This time to his long-time agent, Emma Hurtado.

Mexican Muralism

Diego is best known for his work in the Mexican Muralism movement. When he returned to Mexico City, it was under the influence of the Mexican ambassador to France, Alberto J. Pani. The new Mexican Minister of Education, José Vasconcelos, was undertaking a new program of government-sponsored Mexican murals. These murals would be installed all over cities across the country. It was the government’s attempt to reunify the country post-Mexican revolution. The murals were meant to promote political ideas, depict real Mexican society (the good and the bad) and reflect views of the social revolution. To help those who could not read or attend school learn their history.

Rivera’s Unique Style

The three artists who undertook this project were called “the big three” or “The Three Greats.” The group was composed of Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. Through these murals, inspired by the national identity of Mexico, Rivera developed his iconic native style. This style was based on large, simplified figures and bold colours with an Aztec influence. It is this style that made Diego an icon and gave Mexico its own national art style.

Rivera became so popular that he was called to the United States to bring his style of mural painting to public buildings in the US. He spent a few years working in the US until a disagreement with the Rockerfellers on a large commission fueled his charge back to Mexico City. He continued working on some of the most important commissions of his life until his death on November 24, 1957. After this death, the government of Mexico declared Rivera’s works as “monumentos historicos” due to their importance in the country’s art history.

Start of the Tour: El Cardenal

To start your morning exploring Mexico City in the footsteps of Diego Rivera, you MUST book yourself brunch at El Cardenal. Inside the restaurant is a domineering mural, an artistic replica of one of the most famous Rivera murals. Sitting under a work of art is a great way to bask in its glory while enjoying some delicious Mexican cuisine.

El Cardenal is located inside the Hilton Reforma Hotel. But originally, the hotel which stood in this place was the Hotel del Prado. The Hotel del Prado was built in 1946 as one of the most luxurious hotels in the city. To cement the hotel’s status as one of the top-tier establishments, they hired Diego Rivera to paint a mural inside their new dining room. Sadly, almost nothing of the old hotel remains, as the Hotel del Prado collapsed after the infamous 1985 Mexico City earthquake. The only thing pulled from the wreckage was the mural, which miraculously could be salvaged. The original mural was moved into the nearby Museo Mural Diego Rivera. But this artistic reimagining was made for the new hotel dining room to keep the same spirit of the original.

Dining at El Cardenal

El Cardenal is a small chain of restaurants found all over the city. Their mantra is preserving national folk cuisine and putting it forward for guests to enjoy. Diego himself loved to eat. Although he wasn’t a great cook, food was a major part of his life. Diego and Frida would frequent the marketplace to draw inspiration. And, before leaving, I would fill up on ingredients to bring home. Famous, Diego would end each night with a late supper of hot chocolate and pan dulce. One of his favourite meals that Frida would make for him was a chicken mole. He loved traditional Mexican cuisine and was passionate about preserving it. And this restaurant is the perfect place to enjoy so many traditional dishes.

Museo Mural Diego Rivera

After breakfast, head over to the Museo Mural Diego Rivera. Despite being called a “museum,” the Museo Mural Diego Rivera is simply one large room designed to house the preserved mural from the Hotel del Prado. Thankfully admission is just over a dollar, so it’s more than worth a visit! After the devastating 1985 earthquake, the mural was saved (in pieces) and moved to the museum. Here, it was reassembled with care and restored to as close to its original condition as possible.

Dream of a Sunday Afternoon in the Alameda Central

The mural is called Sueño de Una Tarde dominical en la Alameda Central (or Dream of a Sunday Afternoon in the Alameda Central.) The exquisite mural spanned over 15 meters wide and was painted in 1947. The setting of the painting is, as mentioned in the title, Alameda Central. Alameda Central is a nearby park that has been a gathering place for locals for hundreds of years. The park was built in 1592 under the order of Viceroy Luis de Velasco II. It is now considered the oldest public park in the Americas. But long before it was a public city park, the area was an important site for the Aztec community. It was here where they held their enormous marketplace long before Spanish colonization.

Alameda Central

Alameda is from the Spanish word “álamo,” which means “grove of poplars.” The poplar trees that were once spread out through the park sadly do not remain today. Today, the trees have been replaced by ash, chestnut and willow trees. The group pictured in the park is filled with historical caricatures from over 400 years of Mexican history. They have all gathered together in this dream of Rivera’s. Although the dream sometimes feels more like a nightmare. Many historical paintings are told by the victors. Therefore they scrub away the sins of their past. But Diego, in all his works, never shied away from showing the grim realities of life. Violence and corruption permeated the history of Mexico.

Left Side of the Mural

The scenes from the painting can be read chronologically from left to right. You can get right up close to the mural in the museum to view these life-sized figures. Getting so close lets you feel the energy depicted within the scene. The piece seems to reverberate; gunshots fire, horses rear, police seize innocent indigenous children and the echoes of revolution swell in the background.

Hernan Cortez

One of the first figures of note to find is Hernan Cortez. You can see him off on edge to the left, dressed in his traditional military armour. His hands are posed in prayer as he is posed in front of flames that burn behind him. The flames of war he ignited. Beside him are victims of the Spanish Inquisition. Priests can be seen brutally punishing the victims, and a man all in black is in mid-swing of his cat of nine tails whip. One of the victims wears a sanbenito robe and conical hat. The iconic hat is now sometimes referred to as a “dunce cap.” The garments were worn by penitent heretics before they were put to the auto-da-fé. This “act of faith” was a ritual of public penance where the victims were killed by burning.

Below the large tree on the left, you can see two generals facing each other. The general on the left with the feathered admiral hat is Mexican president López de Santa Anna. Beside him is American General Scott. In 1846, during the presidency of López de Santa Anna, the Americans invaded Mexico City. And their encampment was actually located right inside Alameda Central.

Benito Juárez

Despite being farther into the background, the image of Benito Juárez, president of Mexico, is almost the largest face on the entire left side. He is seen holding a series of papers in his hands. Benito Juárez was President of Mexico from 1857 to 1872. During his time in office, Mexico suffered a second struggle for independence, a second defeat for the European powers, and a second reversal of the conquest. His greatest legacy was signing the Juárez Law, which declared all citizens equal before the law and restricted the privileges of the Catholic Church and the Mexican army.

Center Mural

The centre of the frame is the most vibrant and dreamlike part of the painting. It features bourgeois men and women in their Sunday best. In the background, the lush tropical park with a large fountain seems to glow with almost an ethereal neon hue. Above the scene in the centre is a huge hot air balloon flying above. The balloonist waves his Mexican flag, and the balloon is emblazoned with the Mexican Republic insignia.

La Calavera Catrina

The centre is dominated by a large, white skeletal figure called La Calavera Catrina. La Calavera Catrina (also called ‘the Dapper Skeleton’ or ‘elegant skull’) was originally conceived as a black and white cartoon. It was first drawn in 1910 by illustrator and lithographer José Guadalupe Posada. Rivera actually portrays Posada in this mural as well. He is seen to the right of La Calavera Catrina, holding her arm under his.

Originally, La Calavera Catrina was meant to be a caricature. She represented the elite of Mexico City during the reign of Porfirio Diaz. The caricature symbolizes a Mexican woman who has given up her Mexican culture and adopted high-society European aesthetics. Depicted with her huge Europe-styled hat and expensive feathers. And yet the woman is a skeleton. As if to say that no matter how you see yourself in this world, we are all the same underneath it all. Just bones. Over the years, La Catrina has become the symbol of death in Mexico. Her visage is a traditional part of the Day of the Dead celebrations.

Rivera’s Calavera Catrina

In Diego’s mural, he has given the original sketch a whole body. While the face and large hat mirror the original drawing to a T, Diego has added some new elements. This includes a sumptuous feathered boa that hangs around her neck. But if you look closely, you’ll see the feathered boa still has a head and tail. This is meant to represent the Aztec serpent god Quetzalcóatl. Around her waist, La Calavera Catrina wears a belt with a gold buckle in the shape of an old Aztec symbol. This symbolizes La Calavera Catrina’s transition from caricature to a new form of revered god in the people’s eyes. She wears the body of the old god around her neck as she steps in to take its place.

Young Diego

In La Calavera, Catrina’s other hand, she holds the hand of a young Diego Rivera. Rivera has a playful little smile on his face. You can see a small toad poking out its head in his breast pocket, and in his other pocket, out comes a green snake. The umbrella he holds in his hand has the face of a bird, perhaps the Crested Caracara, often referred to as the “Mexican Eagle.” 

Frida Kahlo

Directly behind Diego stands Frida Kahlo. Frida’s hand lovingly rested on Diego’s shoulder. She holds a medallion with the yin-yang symbol in her opposite hand. Famously, Diego and Frida were polar opposites, yet they were drawn to each other despite these differences. In Chinese philosophy, the symbols depict the fundamental duality in humanity: female (“Yin”) and male (“Yang.”) Both Frida and Diego frequently painted images of each other in their artworks. In each of these paintings, there is always a coded message about the state of their relationship.

Throughout Diego’s career, Frida was always thought to be working in Diego’s shadow. She was known more as “the wife of Deigo Rivera” rather than an artist in her own right. And yet, here she is, the elder partner. Seemingly guiding Diego with her hand on his shoulder. Frida’s health was declining fast when Rivera painted this mural. Perhaps his small stature in the painting also reflects his helplessness in the face of her impending death.

Right Side of the Mural

To the right of the central group, we can see Porfirio Díaz looking down on them. Dressed in his military uniform and feathered hat, his decerning eyes gaze angrily at the group gathered. Díaz served seven terms as the President of Mexico. But this was better known as a dictatorship in the later years. Díaz started out as someone who aimed to turn the country around and free the people from the French. But once he came to power, his policies only benefited his circle of allies. The peasantry did not share in Mexico’s prosperity, leading to the Mexican Revolution of 1910. 

Below Díaz, on the ground, we see an indigenous family being forced to leave the park. They are being pushed away by a series of police officers. This is how Rivera uses transparency in his art. He aims to depict the racism that even the Mexican people have towards their indigenous community.

Francisco I. Madero

On the far right, up in a tree in front of a large Mexican flag, we can see Francisco I. Madero. He is smiling and waving his black hat up in the air. Madero was the head of the movement that overthrew Porfirio Díaz. Sadly, Madero was murdered during the Ten Tragic Days of 1913. His murderers, General Victoriano Huerta and Manuel Mondragón are also portrayed in the mural. Their menacing grey faces with prominent mustaches are hidden behind the crowd in the lower right corner. 

Also in the lower right corner are a group of women important to Rivera. This includes his ex-wife Guadalupe Marín, his daughters Guadalupe and Ruth Rivera Marín and his great friend Rosa Rolando Covarrubias. In the arms of his daughter Guadalupe, she holds her young son Juan Pablo. Perhaps by depicting his grandson in the photo, Diego wanted to cap the mural off with an image of hope. Hope for the future and for a better world for his grandson.

Alameda Central

After touring the museum, take a walk in the actual Alameda Central. Strolling through the gardens, monuments and pathways, you can get a sense of the vibrant atmosphere that must have inspired the setting for Rivera’s artwork. While the eastern portion of the park was for leisurely promenades, the park’s west end held a more nefarious purpose. This western section was originally built during the Mexican Inquisition. It was known as the “Burning Place.” Here, convicted witches and people accused of treason were publicly burned at the stake. While you don’t immediately think of Mexico as a place of witch trials, these inquisitions spread worldwide. When the inquisitions ended in 1770, the burning plaza was destroyed and transformed into an extension of the park.

One of the most important monuments is the “Hemiciclo de Benito Juárez.” This large semi-circle of eight towering marble columns with a central plinth is topped with a group of neoclassical statues. In the center is statesman Benito Juárez himself. Juárez was the 26th president of Mexico and, most importantly, the first president of Mexico of indigenous origin. On either side of him are two allegorical female statues representing the fatherland and law. On the pedestal he sits, you can see the inscription “Al benemerito Benito Juárez la Patria.” This translates into “To the meritorious Benito Juárez, the Homeland.”

Palacio de Bellas Artes

The Palacio de Bellas Artes, with its iconic sunset tiled roof, is one of the most iconic images of Mexico City. The Palacio de Bellas Artes hosts music, dance, theatre, opera and literature and is aptly named the “Cathedral of Art in Mexico.” The exterior of the building is primarily Neoclassical. But inside, you’ll discover a plethora of modern Art Deco and Art Nouveau stylings. Adding to the incredible decor of the interior is a series of murals wrapping around the walls. Each of these murals was commissioned by star painters of the Mexican Muralism movement. This includes; José Clemente Orozco, David Alfaro Siqueiros, Jorge González Camarena, Roberto Montenegro, Manuel Rodríguez Lozano and (most famously) Diego Rivera.

Man, Controller of the Universe

On the 3rd floor is where you can find Diego Rivera’s Man, Controller of the Universe. The mural is a recreation of the original mural once painted for New York City’s Rockefeller Center in 1933. When it was first thought up by Rivera, he named it Man at the Crossroads. But halfway through the project, the Rockefellers and Rivera disagreed about the subject matter depicted in the mural. The piece was meant to represent aspects of contemporary social and scientific culture. While the Rockefellers loved Rivera’s work, a damning article by the New York World-Telegram called the mural “anti-capitalist propaganda.”

Rivera and Lenin

Rivera was furious by the statement. As a means of revolt, he added a portrait of Lenin hidden within the mural. This portrait had not been approved in his original sketches. But Rivera hoped it wouldn’t draw any attention by hiding among other large portraits. Unfortunately, right before the unveiling, the Rockefellers took notice and demanded it is painted over. Rivera refused, and the entire piece was destroyed. This was a massive blow to Rivera’s ego. He was quoted as saying, “Rather than mutilate the conception [of the mural], I shall prefer the physical destruction of the conception in its entirety, but preserving, at least, its integrity.”

After its destruction, Rivera recreated it in Mexico City on a blank wall in the Palacio Belles Artes. Rivera had asked his assistance to take pictures of the original mural before it was torn. This ensured he could recreate it perfectly here at the Palacio Belles Artes. When he was finished, he named this version Man, Controller of the Universe. A much more powerful title and reflective of his overall worldview.

Reading the Mural

The mural is split up into three different sections. In the center is a workman turning a giant piece of machinery. As if he is controlling the world around him with this machinery. Rivera was a staunch atheist, and his idea of man being the controller of his own destiny, not god, is evidently presented here. On the right side of the mural are depictions of capitalism, and on the left are depictions of communism. As mentioned in the original title, the universe appears at a crossroads. And we don’t know which way the man in the center will turn the wheel…

Central Mural

Emerging from the lower portion of the workman’s body is a giant fist. In the tight grasp of the fist, we can see an orb. Inside the orb are images of atoms and cells dividing in the act of chemical and biological generation. An ethereal blue light glows from around the edge of the orb. And tendrils start to emanate and spread out onto the rest of the image.
Radiating from behind the man is a series of propeller-like shapes. Inside each shape are images on both the micro and macro levels. Images as far away as the cosmos or as close up as bacteria are all seen through a microscope. Rivera is telling us that man can see it all. Beneath the mechanical structure, you’ll notice a small garden growing. This is meant to represent Mexico’s controlled growth of rich natural resources.

Left Side of the Mural

To the mural’s left side, we can see a small grouping of high society women playing cards and smoking. Hidden within the group of women, Rivera painted a portrait of John D. Rockefeller. Painting him among the clueless and cruel elite was revenge for Rockefeller destroying Rivera’s mural in New York.

Outside of their “social circle,” just beside the elite, are the faces of haggard workers looking on. Exhausted, angry expressions paint their faces. Above them, riots roars and police on horseback swing their batons, trying to silence protesters. This is a harsh contrast to the carefree gambling parties on the right. They are entirely unaware of the reality of the world around them inside their bubble.

Charles Darwin

In the foreground, a group of students of different ethnic backgrounds sit in lecture chairs. They appear to be watching the scene unfold through the large oculus in front of them. They are the hope for tomorrow, and only through learning about the past will they shape a better future. To the students’ left, we can see an x-ray machine controlled by a timid bearded man who represents Darwin. He is surrounded on the floor by different animals, which his studies revolve around.

Above the group stands a giant classical marble statue of the Greek god Jupiter. He looks furious, raising his hand to the sky. But a thunderbolt appears to strike his hand and break it from the rest of the statue. Around his neck is a large wooden cross. Rivera points out how Christianity and the Greek gods were false and would be destroyed by this new world. For Rivera, past myths have no influence on the future, where science and our understanding of the natural world around us reign supreme.

Above the entire scene is an assemblage of faceless soldiers and war machinery. Each soldier wears a terrifying gas mask on their face, obscuring their identity. Above the soldiers, the sky is filled with planes against a blood-red sky. A comment from Rivera on the violence created by capitalism.

Right Side of the Mural

While the left side seems focused on war, the right side is a socialist utopia. On the right, between the propellers, we can see that famous image of Lenin. The very same one, the Rockefellers, were so up in arms about. In Lenin’s hands, he holds diverse workers around him. To the left of the group with Lenin is one of the brightest parts of the mural. Four women are shown in brilliant white athletic uniforms against a brilliant backdrop. A beautiful symbol of the power and hope Rivera had for women.

Along the top edge of the right mural are a large group of men and women celebrating the Russian May Day rally. Each wears a red cap or scarf and flies flags to symbolize communism. On the far right, we see another classical sculpture depicting a seated Caesar with his head cut off. Around Casesar’s waist, he clutches a bundle wrapped with a belt displaying the nazi symbol. Rivera viewed Caesar as a man of material goods. His beheading was a message from Rivera to rid ourselves of these material obsessions.

Leon Trotsky

At the feet of the headless statue is a man with round glasses and white hair. This is Leon Trotsky, a Ukrainian-Russian Marxist revolutionary, political theorist and politician. Trotsky and Rivera were once good friends. Trotsky even came to live in Mexico City after being expelled from the Soviet Union. Despite their best efforts to keep him safe, Trotsky was assassinated in his home in Coyoacán. Trotsky holds a giant red flag, supported by the industrial workers around him, representing Marxist theory. In the bottom left corner, one of the workers can be seen sitting casually on the statue’s head from above.

Stand back and take the entire mural in as one large scene. By doing this, you can appreciate how the left, the capitalist society, feels grim. On the right, more emotions are on the people’s faces, more rich colours. The people on the left are controlled by the government and religious institutions, and only the elite are free. But on the right, communist society is given control and freedom to create its own universe. Controlled by the people.

Diego and Frida’s Funerals

Another big connection that the Palacio Belles Artes has to Diego is that it was the designated location for the funeral of his ex-wife Frida Kahlo. And would go on to be where he would be laid in state after his own death. Diego arranged for Frida’s body to be laid out in the Palacio de Bellas Artes. The government agreed, only if they would make it an entirely non-political event. Diego agreed. But unbeknownst to him, one of Frida’s students came to pay their respects and threw a huge communist flag over her casket. The government threatened to remove her body, but Diego refused to let them. He said if they tried, he would carry her dead body in his arm. And sit with her on the palace’s steps. They reluctantly agreed, and the flag remained on her casket, one last act of defiance.

Mexican Secretaria of Public Education Headquarters

Take a walk along the pedestrian-only Av Francisco I. Madero west towards the inner portion of the Historic Centre. When you reach the República de Brasil, head north, crossing westward once more along Luis González Obregón street. A few steps down the street, you’ll immediately see the Mexican Secretaria of Public Education Headquarters. The enormous building is spread over an entire city block. The facades that face out onto the different bounding streets are each done in a unique architectural style. Changing depending on the era in which it was created.

Diego Rivera Murals

Walk inside the iron gates from the República de Argentina to enter the open-air courtyard. You’ll usually see two armed guards on either side of the doors. Since this is still a government office, they take security seriously. Tell them you are there to visit the Diego Rivera murals. The guards will usually let you in if there aren’t any private events. But they might do a quick security check of any bags, so don’t let that surprise you. Inside the doors, you’ll enter the first of two large adjoining courtyards. Covering the courtyard’s walls are 235 panelled murals painted by none other than Diego Rivera. This was Rivera’s first large-scale painting project.

Rivera and Vasconcelos

When Rivera returned to Mexico from his studies in Europe, it was to participate in a new mural program started. The program was the pet project of the new Secretary of Public Education, José Vasconcelos. Vasconcelos thought that art was a powerful tool for education. He went about commissioning large-scale mural projects across the city to bring art to the public. This project took place after the great Mexican revolution. Art was to be used to help communicate to the people that this new government would guarantee the new life promised by the revolution. And the first building Vasconcelos wanted Diego Rivera to work on was aptly the same one he worked in.

Like many of his contemporaries, Rivera believed that easel painting was considered too aristocratic. He and his contemporaries thought large, public murals could reach a larger audience. Art didn’t need to be hidden away inside stuffy museums or only appreciated by those with a critical eye. Art was for everyone.

Education Mural Themes

Rivera started work on the murals in 1923, which took the painter five years to complete. Despite the overly Greek-influenced exterior, these murals focused powerfully on the Mexican identity. The murals followed themes of the Mexican Revolution and the glorification of Mexican labourers. Rivera’s themes are divided by the two courtyards. The larger courtyard focuses on Labour, and the smaller courtyard is dedicated to the Mexican Fiesta. Unlike the European influence that paints the colonial parts of the city, these murals focused on traditional Mexican heritage.

Fiesta Courtyard

The smaller Fiesta Courtyard is the first one you’ll enter. Here there are murals on the ground floor depicting various meaningful events in the Mexican calendar. You’ll see scenes from the Deer Dance, the Day of the Dead and the Corn Fiesta. There are also murals featuring the Meeting on May 1st, Good Friday and the Ribbon Dance.

Walk up the stairs to the second level, where you can view one of the most important of Rivera’s murals. This massive painting, called The Arsenal, portrays a group of revolutionaries preparing for battle. In the center, you can see the image of a young woman in red wearing a communist star on her shoulder. The woman who posed for this painting was none other than Frida Kahlo. He painted her when she was just a student, long before the two would be married. Hovering above the murals, Rivera painted a sprawling red banner. The banners span the entire wall length and connect one scene to the other. The text written upon it is lyrics to various revolutionary songs called “corridos.”

Labor Courtyard

The larger courtyard surrounds a beautiful green garden full of lush foliage. In this area, you can see scenes depicting Mexican labourers. Using looms, you’ll find images of mineworkers, sugar mill labourers, and craftspeople. Women set about dying fabric, smelters work in hot ovens, and busy farmers sell their goods in the marketplace.

On the second-floor staircase are a series of murals highlighting Mexico’s diverse landscape. From the bright blue coastlines to the lush green mountains. The murals on the second level are dedicated to what Rivera considered the four primary elements of painting. These are light, colours, man and geometry.

Former College of San Ildefonso

Head back outside and make your way to the Former College of San Ildefonso, now the Museo De San Ildefonso. As you walk towards the building, take a moment to study the architecture of the building. The ancient blood-red volcanic stones are contrasted with a series of elaborately designed windows. The vibrant stained glass still gleams in the sunlight even to this day.

You walk through the double arcade outside Justo Sierra to enter the building. Stand outside the door for a minute to appreciate the elaborate Neo-Churrigueresque architecture. Neo-Churrigueresque is also known as Ultra Baroque. The style developed primarily in Spain but made its way to their colonies. Here it seemed to find a loving home in the arms of the Mexican people who love decoration. The style is primarily identifiable by extremely expressive and florid decorative details. While these elements bleed into the rest of the building, their main cluster surrounds the entrances and facades.

Mexican Muralist Movement

Inside the old college, it’s here that the Mexican Muralist movement was said to be invented. The building was originally constructed in 1588 as a Jesuit College. But when the Jesuits were expelled, the school became a residence for soldiers in 1767. Then, in the 1860s, the building was once more transformed into a school by president Benito Juárez. Juárez took schooling out of the hands of the clergy and into the hands of the government. Back then, the school saw over 700 students in and out of doors daily.

Government Mural Program

As the school was brimming with activity, the government thought this spot would be the perfect spot to feature a new government-sponsored mural. They commissioned a series of murals with themes relating to Mexico’s history and the politics of the post-Revolution era. Various artists contributed to the art spread across the walls of the college. The artists included; Ramón Alva de la Canal, Fermin Revueltas, Fernando Leal, José Clemente Orozco, David Alfaro Siqueiros, and Diego Rivera.

The building remained a functioning college until 1978, when it finally closed its door. It wasn’t until 1992 that it was reopened as a public museum and cultural center. Today there is always a series of rotating exhibitions on display. Many of them feature subjects relating to art and archeology in Mexico.

Creation Mural

Admission into the museum costs 50 pesos as there are rotating exhibitions on display inside. But if you just want a peek at Rivera’s work, you can sneak inside the Bolívar Amphitheater. This is found to the left of the entrance. You can access the theatre without admission, so long as there is no performance inside. Inside the Bolívar Amphitheater is one of Diego Rivera’s earliest murals, The Creation. This singular mural took Rivera over a year to complete, spanning over a thousand square feet!

The entire piece is a symbolic composition combining mythological and religious motifs. Along the top, in the center of the mural, is a blue astrological sphere with three hands emanating. This represents the holy trinity, stretching outwards towards the audience. In the middle are images of Adam and Eve, flanked on either side by the muses; Love, Hope, Faith, Prudence, Justice, Strength, Wisdom and Science.

Rivera’s Early Style

In this painting, Rivera’s art style’s youth can be studied. His iconic, more abstract technique seems to be missing. As if he hasn’t found his authentic voice just yet. The piece follows a similar style to that of Italian Renaissance fresco paintings. But even within this early work, his use of geometric structure, powerful facial expressions and strong composition are persistent.

Mercado Presidente Abelardo L. Rodriguez

Less than ten minutes from the college, you can make your way to the Mercado Presidente Abelardo L. Rodriguez. This simple community marketplace is home to a series of murals painted by Diego Rivera’s students. While the work wasn’t by Diego himself, I love the idea of seeing his ideologies passed down to the next generation. And studying the works allows you to appreciate Rivera’s impact on future artists.

Market Murals

The market was built in 1934, and at the time, it was known for being very modern. It spread over 12,450 square metres and featured a daycare, youth center, library and large auditorium. It was more than just a market; it was a community centre. But most importantly, the architect hired Diego Rivera’s students to paint murals. These murals would span the entire interior wall and ceiling with themes portraying socialist ideologies popular at the time in Mexico City.

The young artists were passionate about reflecting the exploitation of workers, peasants and miners, especially by the elite of Mexico. The murals also depicted the fight against the Nazis, fascism, and racism. When the murals were initially painted, they were thought to be the city’s fourth most important public murals. And yet, over the years, they began to deteriorate. After the devastating 1985 earthquake, the marketplace began to fall into disrepair. The humidity started to peel the paint, and as the area was losing its prominent status, vandalism was also a problem. The mural was all but lost to the ages. But thanks to a group of concerned merchants, restorations began in 2008. This ensured these pieces of national history would be preserved. Although restorations are ongoing, you can walk around the marketplace today to see many iconic paintings.

Antigua Academia de San Carlos

Walk south down Calle Loreto, east across República de Guatemala and down La Academie. Here you’ll find the Academia de San Carlos. This was the first art academy in Mexico and the “new world.” They opened their doors in 1785 and primarily taught academic neoclassicism to their students.

But over the years, the students began to rebel against the learnings of teachers from Europe. They longed for their own national artistic identity. This came to a head in 1911 when the student began to strike. This strike would last over two years. The students demanded to be able to paint outdoors. They wanted to be able to experiment more in their artwork and eventually shift towards a modern form of painting. Diego Rivera was the leader they needed and became the academy director in 1929. He was the perfect choice to appease the students. His entire career has been about telling the story of the Mexican people and bringing modern art to the masses.

Palacio Nacional

To finish off our tour of Diego Rivera’s murals in the historic centre, we must pay a visit to the Palacio Nacional (or National Palace). This is his piece-de-resistance. The Palacio Nacional is an enormous museum with so much to see and do. Entrance to the National Palace is free, although there is usually a long lineup to get inside. You need to leave a piece of ID with the guards at the door. Since the Palace is still home to the offices of the Mexican President, security is critical. They need to control the number of people and keep track of exactly who is inside. The entrance to the National Palace can be found on Moneda Street.

History of the Palace

The site of the building was once Moctezuma II’s Grand Palace. His great residence was built here in 1521. When Cortés first visited the Palace, he described it as having a surprising array of riches. The walls were made of marble, and the facade contained a carved shield of Mexico’s iconic eagle. With the snake in its claws. The building was modern, with sanitary facilities, fountains, gardens, and bedrooms with rich rabbit fur and feathers tapestries. In addition to being a royal residence for the rulers of the Aztec city, it was also a meeting place for the older tribe members. Here disputes and discussions would take place to ensure the wealth and happiness of their people.

Hernan Cortés

Sadly, after the invasion by the Spanish, Hernan Cortés seized the residence from the Aztecs. Cortés was so enamoured by the palace that he used it as his home. Passing it down to his son in later years. The Palace’s devastating fire in 1692 destroyed much of the original structure. Many of the original stones that could be recovered were used in the reconstruction efforts. However, the new palace was styled in the Baroque fashion of the time. It seemed that over time, every generation added its own touch to the building. And now, it looks more like a patchwork quilt of architectural ages.

History of Mexico Mural

Walking inside the National Palace, follow the signs for the ‘History of Mexico Murals.’ These can be found within the great courtyard, surrounded by Baroque arches. Walk up to the main stairwell, where you’ll immediately be struck by this immense masterpiece. The mural depicts the history of Mexico from the dawn of human existence through to the 1920s. Rivera started work on this mural in 1929, many years after his first mural project. The precision and confidence in his technical skills and expressive style are evident in this work of art. Rivera was decisive in using his art to communicate his ideologies about communism and the rejection of the colonizers. He wanted to bring the crimes of the past clearly into the minds of the people. To ensure these atrocities were never forgotten.

The main message of the mural surrounds the indigenous Mexican people’s struggles to preserve their culture, National identity and country against the brutal colonizers. Standing at the base of the stairwell, take a minute to appreciate the sheer grandeur of the entire piece. So much of the story is sad—a classic tale of good vs. evil. The goodly indigenous Mexicans had one of the most vibrant cultures. Yet, they were practically wiped out by the evil, invading Europeans.

If you squint and look at the entire piece, the bright colours and expressive shapes look powerful, hopeful and strong, just like the Mexican people. Despite the horrors of the past, the post-revolution population believed in the future of their country. Especially as it became an independent nation. And that their strength and perseverance would conquer evil and allow their great country to prosper.

North Wall 

Walk up the stairs to the landing in the center, and look up at the left side, or North Wall. This part of the mural depicts the indigenous Mexicans long before the arrival of the Spaniards. They are surrounded by the fantastical Mexican landscape all around them. The blue is almost heavenly —the large bright sunshine above casting all of them in celestial light. The Aztecs believed in the sun god, as seen in the all-seeing eyes painted onto the sun’s face. Just below the sun, you can also see an erupting volcano with Xiuhtecuhtli’s “the Lord of Fire” exploding from the mouth of the volcano. In the sky flies Quetzalcoatl, the Feathered Serpent deity and god of the wind and the rain.

The Valley of Mexico is spread along the horizon, with its amazing pyramids towering above the people. Standing in front of the pyramids are the Aztec leaders, guiding and looking after their citizens. In the left corner, you can see a small battle scene between two tribes. This violence was a common occurrence in any civilization. But the cultural costumes worn by the different tribes make this little vignette so interesting.

Farmers are tending to vivid corn crops, almost as bright as gold. Craftspeople in the lower right-hand side of the mural are busy weaving, making pottery, playing music, painting and writing on scrolls. This shows their modern civilization, full of technology, art and science! They were the farthest thing from “savages,” as the violent Spanish colonizers reported.

West Side, Main Wall 

We move from the north wall’s idyllic memories to the densely packed and violent images of the west wall. This is the mural straight ahead as you walk up the main stairs. It is the battle of the Mexican people against their oppressors. A story of hatred and war is woven into the fabric of Mexico’s history.

Lower Level Depictions

The lower part of the mural is riddled with images of Mexicans and Indians fighting against the heavily armoured Spanish and French cavalry. The beautiful and bright feathered costumes of the Aztec leaders crushed and fell under the feet of their enemies. Cortez can be seen in the middle of the painting, as he is the only mounted soldier with his face exposed. The rest of the attacker’s helmets are closed. But Rivera paints Cortez with his helmet raised, so his actions are not anonymous.

Cortez’s armies have modern weaponry making their defeat of the Aztecs a foregone conclusion. Despite being outgunned and outnumbered, the Aztecs fought valiantly against the Spanish on the right and left corners. All the while, the Aztecs are being watched over by a great golden eagle in the center. The eagle sits perched atop a cactus with a serpent in its mouth. The design of this symbol is rooted in the legend that the Aztec people would build their great city on the spot where they found an eagle eating a snake on top of a cactus. They called that place Tenochtitlan (Mexico City), and it was worth fighting for them.

Middle Depictions

In the middle of the mural, we see the horrors brought to Mexico by the Spaniards. Not only did they want to conquer the land, but they also wanted to abolish the Aztec religion. The Inquisition went about burning sacred books and religious imagery. You can see these fires burst out across the wall. Priests on the left-hand side can be seen forcefully converting the indigenous people to their new religion of Chrsitiniarity. The Spanish turned many natives into slaves, and these hard-working people were the creators of this “new world.”

Upper Arch Depictions

Under the five arches at the top of the wall are the various rulers of Mexico. Interesting to note is Rivera’s use of non-hierarchical representation. No one man is larger than the other. While some think it makes the mural more challenging to interpret or read, it is part of Rivera’s communist ideologies of equality.

Starting from the left, we see the French Rule and execution of Austrian Emperor Maximilian in 1867. Next to that, we see images of the Porfirian era. This era was coloured with a brutal dictatorial rule accomplished through consensus and repression. In the central arch, we see depictions of Independence and the Mexican Revolution. You can see a man with a mustache carrying a large red banner at the very top of the frame. This is revolutionary Emiliano Zapata, who was one of the leading men in the revolution. The red flag says “Tierra y Libertad,” which means “Land and Liberty.”

To the right, we see images from the Reform and Juarez eras. Benito Juarez was Mexico’s only Indigenous president and the founder of the new Mexican nation. Finally, on the far right, we have the invasion of Mexico by the US. Above the invading US army is the great eagle flying down to attack.

South Wall

The south wall to the left of the main stairwell depicts the future of the Mexican people. The imagery represents progress, prosperity and hopes for a better future. At the top of the mural is the image of Karl Marx holding his great Communist Manifesto on a large scroll. To the right of this is a man flying the Soviet flag. When the mural was painted, the Mexican people and Rivera himself had solid socialist tendencies. The Soviet flag can be seen throughout imagery from this era.

To the right of Karl is a scene of Mexican workers. They are being attacked and oppressed by police wearing large gas masks. This scene takes place in front of Mexico City’s skyline silhouette. While the other two murals are more fluid in their collage-like design, this mural is framed in harsh geometric metal beams. Inside these almost cage-looking rectangles are pictorial representations of what Rivera saw as negative social forces in high society. 

At the bottom of the painting is the image of a woman dressed in bright red. Look closely at her face to see if you can recognize the model. It is none other than his wife, Frida Kahlo. Frida holds a copy of the Marxist manifesto and is engaged in a political rally. Very similar to her real-life political activism. Above her is another similar-looking woman. This is Frida’s sister Cristina, with whom Rivera had an affair during his marriage to Frida.

Second Level

On the second level of the courtyard patio are 11 additional murals painted by Rivera. These are continuations of the history but highlight particular scenes that Rivera found to be important during the pre-Hispanic era. These murals were not finished, and it’s interesting to see them as works in progress captured in time.

Cárcamo de Dolores

There are several other spots in Mexico City to see if you are following in the footsteps of Diego Rivera. One location to visit that is home to two important spots is the great Bosque de Chapultepec or Chapultepec Park. The park is one of the largest city parks in the Western Hemisphere and spans over 1,600 acres! A dense and populated city needs fresh air, and this park acts as its “lungs,” with trees that replenish oxygen to the Valley of Mexico. The name Chapultepec stems from the Nahuatl word chapoltepēc, which means “at the grasshopper’s hill.” If you find yourself in Chapultepec Park, you can also visit the Cárcamo de Dolores. 

The Cárcamo was built in 1951 under engineers Eduardo Molina Arévalo and Guillermo Torres. The Cárcamo de Dolores (or Sump of Dolores) was a hydraulic structure that housed a giant water tank. From here, the city would control the levels in several other large water reservoirs. But, the space was given an artistic flair by Diego Rivera. 

Tláloc, the God of Water

Once the new system was implemented, they set about creating this museum in honour of the water god Tláloc. Tláloc is the god of rain, water and earthly fertility. Walking up to the building, you can see the giant tiled fountain with the image of Tláloc lying down, spread over 100 feet wide. He lies with his legs laid splayed, decorated with brightly coloured stones mined from the natural resources of the Mexican landscape. Originally, the area where we now find the fountain was the entry point where the Lerma River water entered the city’s reservoir.

Water has long been both worshipped and yet highly problematic in Mexico City. After the Spanish conquest, they drained the precious life-giving rivers and lakes. Since then, the city has constantly been searching for accessible water. So people are continually making their prayers to Tláloc. In the hopes he can solve what even modern-day engineers still have not.

Main Building

Inside the main building is where you can find Rivera’s murals, Water, Origin of Life. These murals pay tribute to the workers, engineers and architects who participated in the construction of the original Cárcamo water system. These 200 square meters of murals were meant to be underwater, making them the only underwater mural in the world. Today, the murals’ pools are empty, allowing the public to observe the artworks. Constant aquatic exposure resulted in the slow deterioration of these historical works, so the water was drained and diverted. A pipe organ has been installed to give the room the same atmosphere as it once had. The organ makes noises through the adjacent municipal pipes to make the room sound like a functional waterway.

Panteón de Dolores

On the other side of the Avenue Bosques in Chapultepec Park is the great Panteón Civil de Dolores. This Pantheon, or cemetery, is the largest cemetery in Mexico. And in my opinion, this cemetery is one of the greatest in the world! Filled with some of the most incredibly elaborate and imaginative tombstones. The cemetery was built in 1897 on Juan Manuel Benfield’s ranch. Benfield founded the cemetery in honour of his wife, who had recently died in Veracruz. She couldn’t be buried in Veracruz as all cemeteries there were for Roman Catholics only, and they were practicing Anglicans. The cemetery grew and grew over the years, becoming home to some of the most illustrious dead of Mexico City. Today, the cemetery has over 700,000 tombs and is considered the most crowded cemetery in Latin America.

They even have a special section of the cemetery called the ‘Rotonda de las Personas Ilustres‘ (Rotunda of Illustrious Persons). This area honours those who have exalted Mexico’s civic, national and human values. Originally it was named the Rotunda of Illustrious Men. But it was renamed by President Vicente Fox in 2003 as the cemetery also honours many famous women. The first person to be buried here was soldier Pedro Litechipia, who died fighting against the empire of Maximilian in 1876. 

Diego Rivera’s Tomb

Included among the illustrious dead is Diego Rivera. Interestingly enough, Rivera had requested that he not be buried at all. Instead, he wanted to be cremated and his ashed comingled with those of his beloved Frida Kahlo. Frida’s urn can be found inside her beloved Casa Azul. Sadly, upon his death, his family overruled his decision and had this tomb designed to house his body. The vault was designed with pre-Hispanic patterns and symbols swirling around the tombstone. Emerging from the stone are the bright white marble arms and the death mask of Diego Rivera himself. As if the artist is merely asleep and is rising from the grave. Haunting and yet beautiful all at once.

The Flower Vendor (Girl with Lilies)

On either side of the tomb are bouquets of white calla lilies carved in marble. So they may bloom for eternity. Rivera’s famous The Flower Vendor (Girl with Lilies) is one of Rivera’s most famous artworks. Although the lily is associated with funerals and death to Rivera, it symbolizes indigenous culture. It also references Mexico’s abundant flora and even a hint of sensuality, as the flower resembles a certain part of the female anatomy. Flower sellers also represent the poor working class. Who sold the beauty of the Mexican landscape to the wealthy upper class, which consumed it. For this reason, focusing on the flowers on his grave is even more important to his legacy.

Tomb Mosaic

Above the tomb, on a large stone marker, is a beautiful mosaic. It features the image of an older indigenous woman surrounded by lit candles. The scene appears dark as if she is here at night. She kneels on the ground, planting seeds with a woven basket in front of her. A symbol of how Rivera planted seeds in the minds and eyes of the Mexican people. Inspiring them for ages to come. On the opposite side of the mosaic is a burst of Rivera set into the stone. Below it is a large inscription dedicated to the life and impact of the great artist.

Coyoacan and San Angel

You can visit many other places that are significant to Diego Rivera, located outside the city centre. Luckily, Uber makes seeing many of these destinations very straightforward. Two neighbouring areas worth visiting are the colourful suburb of Coyoacan and the quiet artistic streets of San Ángel.

Museo Casa Estudio Diego Rivera y Frida Kahlo

The rural hamlet, filled with cobblestone streets and bougainvillea-covered colonial homes of San Angel, was where Diego Rivera called home in his old age. While the Casa Azul was Frida’s palace, the Casa Estudio was Diego Rivera’s oasis. Here, you can learn more about Diego, the man, not just Diego, the artist. This was Rivera’s dream home. He had it custom designed by architect and friend Juan O’Gorman.

Juan O’Gorman

O’ Gorman studied functionalist construction under the swiss design of Le Corbusier. Gorman was enthusiastic about bringing this modernist style to Mexico City. A city he saw as being a hub for modern thinking and exquisite architecture. Diego and Frida’s studio house would be the first construction using functionalist architecture in Latin America. Functionalism was a style defined by buildings that should only express their use or function. They removed excess decoration and prized minimalism.

For Diego and Frida, this functionalist ideal represented their need for two separate studios. Functionally, they could not work together. Frida and Diego’s relationship was plagued with intensity, both good and bad. But when it was bad, it was very, very bad. They found the need to have two different spaces to work to focus on their craft without quarrelling with one another all day. And yet, the two buildings are connected by a large bridge on the top. It is a symbol of their love. That at the end of the day, they still found a way to come together and connect. 

The Architecture of the House/Studio

The two buildings were designed almost as polar opposites. Diego’s studio building is painted off-white and rust-red. Simple, natural colours. On the other hand, Frida’s studio is painted the same ethereal cobalt blue as her Casa Azul. Both studies feature almost floor-to-ceiling windows, giving the interior space an indoor/outdoor feeling. The houses are separated from the street by a perimeter fence. But instead of being made from wood or wrought iron, the fence is made of rows of tall cacti along the roadside. Giving it the most iconic appearance.

The couple lived here from 1934 to 1939. In 1939, they divorced, and Frida moved home to Casa Azul. Leaving Diego to live full-time, alone in the studio house. After their divorce, the couple actually got back together only 9-months later. But even after this reconciliation, Frida and Diego kept the studio house. Diego would continue to live there full-time until his death on November 24, 1957. Rivera died in his studio, and his body remained there as friends and family sat vigil inside to mourn the loss. After this, his body was moved to the Palacio de Bellas Artes for his state funeral. After his death, his daughter inherited the house. But she gifted it to the Instituto Nacional de Bellas Artes to be enjoyed by the public for years to come as a museum.

Diego’s Studio

Diego’s studio is filled with natural energy. The floor-to-ceiling windows allow sunshine to shine through and ignite the space. The studio museum still contains brushes and pigments, which Rivera used to make his murals. He is sitting on his easel like he is about to walk back into the room mid-painting. Dotting the walls are items from Rivera’s pre-hispanic arts and crafts collections. Books lined the shelves, which served as artistic inspirations and portraits of Diego’s many friends and fellow artists. It really felt like a space that was intimate and highly personal.

But filling the majority of the studio are these huge paper-mâché figures. These are called “Judases” and are life-sized papier-mâché dolls popular in Mexican folk art. These are usually made to be burnt as a part of the celebrations on the day before Easter. The figures are made in the image of Judas the Traitor or other unfavourable people. This could be anything from images of devils and demons or even politicians, criminals and disliked shopkeepers. They are then stuffed with fireworks and blown up on the street. Much to the enjoyment of the onlookers. But Rivera didn’t blow them up. Instead, he kept them as souvenirs of the local artisans. Although the simple craftsmen who made them might not see them as high art, Diego saw these as treasures to keep forever.

Plaza San Jacinto

Just a 5-minute drive from the museum/studio, make a stop in the Plaza San Jacinto. This beautiful park is a hub of activity on Saturday mornings. On the weekends, artisans of the San Angel neighbourhood descend on the park to display and sell their creations. Small groups of artists often sell throughout the week, but Saturdays are the most popular day. You’re guaranteed to find the marketplace bustling on those days.

Make your way to the plaza’s centre and look across from the elegant central fountain. There, you will see a bronze easel with the burst of Diego Rivera emblazoned into the cartouche. As Rivera was a resident of the San Angel for many years, local artists inspired by Rivera wanted to commemorate him for generations to come. There is something wonderful about Rivera’s face looking over at the artists in the square selling their works. Continuing his passion for supporting Mexican artists, even from the great beyond.

Casa de Cultura Jesús Reyes Heroles

Now let us head into the vibrant neighbourhood of Coyoacan. Our first stop is at the Casa de Cultura Jesús Reyes Heroles. This building is now a free cultural centre to enter and explore. The “House of Culture” was named in honour of the distinguished historian and political scientist Jesús Reyes Heroles. The building was originally located on an Izotitlán farm, a type of wild palm. Those palm trees still grow wild all over the property.

Just inside the entrance to the Casa is a sculpture of Frida and Diego sitting on a park bench, cast in bronze. You can sit alongside and get your picture taken with the famous couple. The house has existed here since 1780, occupied by various families. It’s no stretch to imagine that the previous owners would have welcomed the famous couple into their garden for a visit or a dinner party from time to time.

Casa Azul

La Casa Azul, or “the blue house,” located on Londres Street in Coyoacán, once belonged to Frida’s father, Guillermo Kahlo. It was here where she was born. She grew up inside these walls. It was where she suffered from illness but flourished as an artist. Eventually, Frida bought the house from her parents and lived with Diego throughout their marriage. They even got divorced and remarried, all within these blue walls. And ultimately, it was the place where she would pass away. It was her sanctuary but also her cage. She spent more years inside these walls than perhaps anywhere else in the world. As such, it is one of the most intimate looks into her life that you can experience.

The museum is less of a simple art gallery and more like an inside look at Frida and Diego’s private world. The house has sketches by both artists and pictures of the two as a couple. But the main focus of the Casa Azul is the couple’s Mexican folk art. They collected pre-Hispanic artifacts, photographs, memorabilia, personal items, and more which are still on display. Walking inside their home, you feel a deep connection with Frida and Diego. To learn more about Casa Azul, take my self-guided tour!

Frida Kahlo Park

Frida and Diego loved the outdoors. Diego often painted outside. The outdoors were an important part of their artistic life. In the centre of Coyoacan, you can make your way to Frida Kahlo Park. In the middle of the park, you’ll find two large bronze sculptures of Frida and Diego. Frida is dressed in her classic Tehuana outfit, gazing over at Diego. This park has a very structured layout, the bushes around it perfectly pruned into geometric shapes. Slightly resembling Aztec pyramids popping out in the background.

Museo Anahuacalli

If you are travelling to Xochimilco, you should stop by the Museo Anahuacalli. Your ticket into the Casa Azul also covers your entry into this museum. The Museo Anahuacalli was another one of Diego Rivera’s homes. Diego and Frida were fierce nationalists who loved their home country and wanted to preserve its history. Diego and Frida dreamed of opening their own museum dedicated to these objects. Sadly, in their lifetime, this dream never came to fruition. But after Diego’s death, his daughter took up the project and created the Museo Anahuacalli. Architect Juan O’Gorman, who designed their studio, also designed this house.

The house’s exterior was made using black volcanic stone from an old Mexico volcano. The texture is something truly unique. There are over 50,000 pre-Hispanic pieces inside the museum. Some of these Diego would collect while he and Frida would travel to ancient Aztec pyramids outside of Mexico City. Each one of them was a piece of Mexico’s heritage, a heritage that inspired the historical influences of Rivera’s artwork.

Museo Dolores Olmedo

Also, near Xochimilco, stop at the Museo Dolores Olmedo Museum. The museum is located inside the grounds of an old 16th-century residence. In 1962, Dolores Olmedo bought the house. Dolores was a fierce collector of art as well as a lover of Mexican culture. It is no surprise to learn then that she was old friends with Diego Rivera and Frida Kahlo. She was also one of their most prolific collectors, and her gallery remains the largest private collection of their works. In 1994, her collection was transformed into the museum we now find today. Luckily, Dolores lived until 2002, so she could see this fantastic house converted into an art gallery for the public to enjoy.

Olmedo & Rivera

Olmedo met Rivera when she was only 17 years old on a trip to Mexico City with her mother. They met while Rivera was working on his murals inside the Ministry of Education building. Inside the museum, you can see one of the portraits that Rivera painted of her. He made it in 1955 after their first meeting. As their friendship continued, Rivera continued to paint Olmedo and her children. They were so close, in fact, that Olmedo invited Rivera to spend time with her family in her home in Acapulco. Here, the painter made over 50 different paintings of sunsets from Olmedo’s front porch. Several of these paintings can be viewed inside the museum.

Today you can explore gardens filled with exotic Mexican plants, magical peacocks and Xoloitzcuintles. Xoloitzcuintles are a rare dog breed that was once only thought it exists in mythical stories of the afterlife. But the breed is actually an ancient hairless Aztec dog. The museum also features a permanent exhibition of works by Russian-Mexican artist Angelina Beloff, Diego Rivera’s first wife.

This brings us to the end of the Mexico City tour, walking in Diego Rivera’s footsteps. I hope you enjoyed your time with us and learned something new about the city along the way! Let me know in the comments what your favourite stop along the tour was!

Happy Travels, Adventurers!

The post The Ultimate Insider’s Guide to a Diego Rivera’s Life & Art in Mexico City first appeared on The Creative Adventurer.

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