Cover image for Diego Rivera
Diego Rivera
Hamill, Pete, 1935-
Personal Author:
Publication Information:
New York : Harry N. Abrams, 1999.
Physical Description:
207 pages : illustrations (some color) ; 25 cm
ch. 1. In the town of frogs -- ch. 2. Europe -- ch. 3. Mexico again -- ch. 4. Cubist adventure -- ch. 5. Renaissance -- ch. 6. Chapingo, Russia, and Frida -- ch. 7. Belly of the beast -- ch. 8. Long good-bye.
Personal Subject:
Format :


Call Number
Material Type
Home Location
Item Holds
ND259.R5 H28 1999 Adult Non-Fiction Non-Fiction Area

On Order



Diego Rivera is regarded as one of the greatest Mexican artists of the 20th century - an audacious muralist, voracious lover and ardent leftist who befriended Picasso. In this part biography, part appreciation, writer Pete Hamill turns a novelist's eye to Rivera's tempestuous career.

Author Notes

Born in Brooklyn, N.Y. to Irish immigrant parents in 1935, Pete Hamill attended Mexico City College, Pratt Institute, and The School of Visual Arts before starting a career in journalism. In 1960, Hamill accepted an entry-level job at the New York Post, becoming a columnist five years later. Hamill subsequently worked as a columnist for the New York Daily News and the Village Voice.

Later working as a contributing editor at Esquire, Hamill has written articles for the New York Times magazine, Conde Nast Traveler, Vanity Fair, and Playboy magazine, among others. He is also an accomplished novelist, having written more than a dozen books, including his national best-selling memoir, A Drinking Life, and the novels Snow in August; Why Sinatra Matters; and Lost Cities, Vanished Friends.

(Bowker Author Biography)

Reviews 2

Library Journal Review

Hamill, former editor-in-chief of the New York Daily News and the New York Post, has lived, worked, and studied art in Mexico. This lively, if not definitive, biography of the pioneering Mexican muralist recounts the king-sized Rivera's real-life escapades without romantic embellishment and with a critical eye. In particular, Hamill is suspect of the seemingly universal admiration for Rivera's "narcissist" wife, artist Frida Kahlo. Coming on the heels of renewed scholarly interest in Rivera and the Mexican muralist movement, Hamill's work must inevitably compete with other studies. It relies more on secondary sources than Patrick Marnham's dependable, more thoroughly researched Dreaming with His Eyes Open (LJ 10/1/98), which it could serve to complement. With 100 very fine illustrations, 50 of which are in color; suitable for large library systems. [BOMC selection.]√ĄMary Hamel-Schwulst, Towson Univ., MD (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

Hamill's study of the life and works of Rivera is clearly a labor of love. The readable and complete biography, the well-selected illustrations of Rivera's work, and the handsome plates and photographs--all converge to prove the author's thesis that Rivera should be included among the great painters of all time. In the introduction, journalist Hamill effectively justifies his "conversion" from regarding the artist as a propagandist to an appreciation, "after hundreds of hours of looking at his work," of the universality that it ultimately conveys. Hamill successfully weaves Rivera's tumultuous and dynamic persona with his artistic production and makes both life and art come alive. This informative as well as pleasurable reading can serve as both a starting point for the novice and a companion work for the reader more familiar with the many other studies of Rivera. General readers; undergraduates through faculty. S. T. Clark; California State University, San Marcos

Table of Contents

Introduction: The Masks of Diego Riverap. 7
Chapter 1 In the Town of Frogsp. 11
Chapter 2 Europep. 27
Chapter 3 Mexico Againp. 41
Chapter 4 The Cubist Adventurep. 47
Chapter 5 Renaissancep. 81
Chapter 6 Chapingo, Russia, and Fridap. 119
Chapter 7 The Belly of the Beastp. 145
Chapter 8 The Long Good-byep. 171
Notesp. 204
Indexp. 206
Photograph Creditsp. 208